i:cn 


.-KUUM  JilJOU, 

AND 

CONTAININ*. 

s  of  the  Polka..  .... 

THER  POPULAR  NEW  DANCES 


ISHER  &  BROTHEK. 


rk  ; 


f^f'r'fci^^' 


THE  GRACES 


THE 

BALL-ROOM  BIJOU, 

AND 

CONTAINING 

The  Figures  of  the  Polkas,  Mazurkas, 

AND  OTHER  POPULAR  NEW  DANCES: 
WiTfi    RULES    FOR    POLITE    BEHAVIOUR. 


FISHER  &  BROTHER, 

No.  8  South  Sixtb  Street,    Philadelphia  j 

No.  64  Baltimore  Street,  Baltimore  ; 

No.  74  Chatham  Street,  New  York  j 

No.  71  Court  Street,  Boston. 


\h 


PREFACE. 


The  works  hitherto  published  on  the  art  of 
dancing,  especially  the  more  elevated  princi- 
ples to  which  its  delightful  attributes  have 
aspired,  (in  this  country  at  least,)  like  angel 
visits,  have  been  '*  few  and  far  between."  Nor 
can  so  trifling  an  epitome  as  ours  affect  to  fill 
the  niche.  Ball  room  expounders  and  guides, 
embracing  the  figures  of  dances,  dress  and 
address  to  its  votaries,  have  been  given. 
Figures  of  Quadrilles  and  new  dances,  from 
the  rage  of  novelty  and  the  admiration  with 
which  the  fascinating  new  music  of  the  day 
is  received,  are  powerful  incentives  in  effecting 
innovations  so  rapidly  successive,  that,  serial 
delineations  of  figures  with  scientific  descrip- 
tion of  new  dances  might  profitably  be  issued 
to  keep  timehj  informed  the  amateur,  not  only 
of  private  dancing,  but  of  the  ballet.  Taste — 
polished  fashion — sanatary  suggestions — tho 
patron  of  the  liberal  arts  and  the  lover  of  old 
customs ;  all,  receiving  their  impulse  from  the 
irresistible  instincts  of  nature,  have  combined 
to  sanction,  encourage  and  practice  dancing 
as  a  preservative  to  health  and  innocent 
amusement;  to  be  enjoyed  in  hours  of  relaxa- 
tion under  the  guidance  of  prudence  and  tem- 
perance. 

6 


0  PEEFACB. 

If  thero  be  any  merit  in  our  small  volume  ; 
or,  should  it  meet  the  meed  of  approval  by  the 
patrons  of  the  art,  wo  shall  feel  amply  repaid 
iu  tho  compliment,  and  grateful  for  their  pa- 
tronage. It  is  a  compilation  from  the  most 
able  writers  on  the  subject,  in  combination 
with  original  matter  which  our  professional 
oxperieaoehas  acquired,  and  digested  by  years 
of  study.  At  your  feet,  generous  votaries  of 
Terpsichore,  we  throw  our  petit  bouquet  of 
variegated  colors;  many  buds  of  which,  we 
havo  gathered  from  the  picturesque  parterre 
of  C.  BlasLf,  the  celebrated  ballet  composer : 
if  we  have  ungracefully,  or  unartistically 
blended  the  tints,  your  good  nature  and  par- 
don wo  entreat.  The  various  Encyclopedists, 
in  writing  on  the  subject,  regret  the  absence 
of  a  well  written  history  on  dancing,  and  that 
it  would  prove  interesting.  We  think,  that 
Blasts  has  amply  responded  to  that  desire,  in 
tlie  production  of  his  splendid,  classical  and 
recherche  work  on  *'  The  Art  of  Dancing^^^--' 
wherein  by  infinite  learned  inquiry,  he  inge- 
niously, but  most  instructively  depicts  in  great 
beauty  of  diction  and  poetical  illustration, 
from  the  entire  literature  of  Europe,  ancient 
and  modern;  the  legitimate  claims  of  tho 
dancing  Goddess  to  a  coeval  and  co-ordinate 
pedestal  with  her  enchanting  sisters.  It  is  a 
classic  fountain,  at  which  the  sculptor,  painter, 
poet,  actor,  dramatist,  dancer,  musical  com- 


PREFACE.  7 

poser  and  Mime,  may  slake  their  thirst,  and 
have  their  most  enthusiastic  aspirations  satis- 
fied. It  is  a  text  book  of  acute  criticism  and 
profound  dissertation  on  universal  art.  It 
may  be  deemed  by  the  fastidious,  perhaps, 
as  irrelevant  to  society  dancing,  in  having 
interwove  our  Vade-mecum  of  the  ball  room 
with  a  few  elementary  remarks  and  principles 
of  theatrical  dancing ;  but,  the  first  principles 
of  the  private  dancing  lesson  are  so  closely 
connected  with  the  inceptive  instructions  of 
that  of  the  stage  ;  one  being  connatural  to  the 
OTHER ;  so  far  as  the  first  positions,  and  par- 
ticularly the  disposition  of  the  arms  (techni- 
cally called  opposition)  are  concerned,  that,  it 
was  thought  indispensable  in  the  arrangement. 
Besides  a  gusto  for  the  opera  style  of  the  art, 
is  growing  here.  The  stars  of  the  opera  and 
the  ballet  at  London,  Paris,  and  all  the  Euro- 
pean capitals  are  now  in  the  ascendant ;  their 
triumphant  gorgeous  folds,  like  the  serpents 
of  old,  are  encircling  the  moral  drama,  (in- 
stituted for  *^ useful  mirth  and  salutary  woe!" 
but  which  we  regret  to  see  too  sober  and  di- 
dactic for  the  age)  till  it  seems  writhing  in 
all  the  agonizing  throes  of  a  Laocoon.  A  kin- 
dred taste,  or  rather,  a  furore  is  ascending 
above  our  theatrical  horizon,  which  will  hail 
ere  long  as  brilliant  a  career  for  those  facina- 
ting  performances  with  us. 


8  PBEFACS. 

We  have  herein  given  an  accurate  descrip- 
tion of  all  the  Polka  Quadrilles  that  are  now 
danced.  These  charming  new  ball  room 
dances  were  the  admiration  of  every  body  last 
season ;  and,  when  they  become  more  taught 
and  generally  known,  they  will  entirely  eclipse 
the  old  cotillion.  The  chal*acter  of  the  music 
•is  unique  and  exhilarating.  There  is  an  ani- 
mation about  them,  that  captivates  all  those 
who  participate  in  them. 

We  have  had  graphic  pictorial  illustrations 
made  of  the  various  Polka  figures,  with  direc- 
tions, and  also  for  the  Quadrilles.  Cuts  repre- 
senting the  elementary  positions  and  attitudes, 
with  the  Mazourkas  and  other  miscellaneous 
fancy  dances,  as  practised  in  our  city  assem- 
blies. 

Dancing  deserves  the  attention  of  the  en- 
lightened, as  a  necessari/  accomplishment;  it 
is  a  natural  exercise,  tending  to  promote  the 
exhilaration  of  the  mind,  and  the  disseminatioL 
of  good  feeling  and  rational  enjoyment  among 
all  classes  of  our  society. 

C.  DURANG. 

Dancing  Academy,         ) 
289  Market  Street,  Phila.  J 


RISE  AND  PROGRESS  dP^DANCINd. 


Dancing,  as  at  present  practised,  may  "bo 
defined,  "  an  agreeable  motion  of  the  body,  ad- 
justed by  art  to  the  measures  of  instruments ;" 
but,  according  to  what  some  reckon  more 
agreeable,  to  the  true  genius  of  the  art,  dancing 
is  "the  art  of  expressing  the  sentiments  of  the 
mind,  on  the  passions,  by  measured  steps,  or 
bounds  that  are  made  in  cadence,  by  regulated 
motions  of  the  body  and  by  graceful  gestures ; 
all  performed  to  the  sound  of  musical  instru- 
ments, or  the  voice."  These  definitions  apply, 
properly,  to  two  very  different  practices ;  the 
first,  the  ordinary  dance ;  the  second,  the  ballet 
dance ;  the  one  an  exercise,  the  other  a  perform- 
ance, as  an  exercise,  or  amusement ;  artificial 
dancing  is  nothing  more  than  a  methodized  act 
instinctive  in  the  human  frame.  To  teach 
dancing,  is  to  teach  the  activity  of  the  body  to 
display  itself  in  a  manner  regulated  by  princi- 
ples of  grace,  or  in  imitation  of  steps  and  ges- 
tures which  others  have  used  with  approbation. 
Dancing  is  a  most  salutary  exercise;  by  ita 
mechanical  effects  on  the  body,  it  inspires  the 


10  KISE  AJS'D  PROGRESS  OF  DAKCINQ. 

mind  "v^itb  ^he(»^f¥iln«8S.  The  music  which  ac- 
,  .compairjes  ^t,  hqs  effects  on  the  body  as  well  as 
^  upon  the  mind;  it  is. addressed  through  the 
^yoijut;  qf»  the  «ar«.to  the  brain,  the  common 
•  <)entr3  of  life  and  mokou,  whence  its  oscillations 
are  communicated  to  every  part  of  the  system, 
imparting  to  each  that  equable  and  uniform 
vigor  and  action  upon  which  the  healthy  state 
of  all  the  functions  depend.  By  the  power  of 
music,  many  remarkable  cures,  particularly 
of  those  disorders  which  are  much  connected 
with  the  nervous  system,  are  known  to  have 
been  performed.  Dancing  should  not  be  used 
too  often,  nor  continued  till  weariness  comes 
on,  nor  should  the  dancer  too  soon  encounter 
the  cold  air.  Dancing  is  usually  an  effect  and 
indication  of  gayety ;  but  Pallypat  assures  us 
that  there  are  nations  in  South  America  who 
dance  to  express  sorrow.  It  has  been  in  use 
among  every  people,  civil  and  savage,  with 
more  or  less  of  enthusiasm,  as  circumstances 
of  habit  or  climate  shaped  the  temperament  of 
the  people.  Many  examples  may  be  adduced, 
ancient  and  modern,  of  its  use  in  religious 
ceremonies. 

The  former  appears  to  have  been  created 
for  climates  that  are  under  the  influence  of  a 
torrid  sun.  It  is  a  pleasure  everywhere. — 
There  it  is  a  passion ;  warmed  by  an  incessant 
heat,  the  glowing  constitution  of  the  native 
south  contains  the  seed   of  every  pleasure; 


EISK  AND  PROGRESS  OF  DANCING.  11 

each  moment  of  his  rapid  existence  seems  to 
him  made  only  for  enjoyment.  The  inhabi- 
tant of  the  north,  forced  by  nature  to  maintain 
a  constant  combat  with  the  rigors  of  the  sea- 
sons, seldom  aspires  to  delight:  his  whole 
care  is  engrossed  in  securing  himself  from 
snows  and  frosts.  The  roughness  of  his  man- 
ners almost  extinguishes  his  sensibility ;  and 
the  delicate  sentiments  that  voluptuousness 
imparts  are  to  him  wholly  unknown. 

How  could  dancing,  that  amiable  offspring 
of  pleasure,  display  her  gracefulness  and  at- 
traction amid  perpetual  ice  and  never-mel^inj 
snow? 

Music  and  dancing  are  nearly  coeval  with 
the  world. 

The  Egyptians,  the  Persians,  the  Indians, 
the  Jews,  and  the  Arcadians,  the  most  ancient 
of  nations;  Amphion,  Orpheus,  Chiron,  Tha- 
myris,  the  prophetess  Miriam,  David,  and 
others,  together  with  the  dances  that  the 
Israelites  performed  in  honor  of  the  golden 
calf,  proclaim  its  antiquity.  These  two  arts 
were,  in  the  sequel,  reduced  to  certain  rules 
and  limits  by  ingenious  and  inventive  artists. 

We  are  informed  by  Moses  that  the  inventor 
of  music  was  Jubal,  who  was  of  the  family  of 
Cain ;  and  that  his  brother,  Tubalcain,  was  a 
worker  in  brass  and  iron.  It  is  therefore  to  be 
supposed,  that  he  conceived  the  idea  from  tho 
reiterated  blows  of  his  brother's  hammers  on 


12  BISB  AND  PB0GBES8  OF  DA5CIN0. 

the  anyil,  the  soands  of  which  induced  him  to 
compose  musical  tones,  and  regulate  their  time 
and  cadence.  But  Macrobius  and  Boetius  give 
the  honor  of  the  discovery  to  Pythagoras, 
which  he  made  in  a  similar  manner.  They 
say,  that  as  the  philosopher  passed  by  a  forge, 
lie  remarked  the  sounds  that  issued  from  the 
•luvil  as  the  hammers  struck  on  its  rotation ; 
and  the  variety  of  notes  thus  produced,  gave 
him  the  first  hint  towards  laying  down  rules  for 
the  art  of  melody. 

With  respect  to  the  origin  of  dancing, 
Burette  has  gathered  the  following  information 
from  ancient  writers : — Opinions  do  not  agree 
as  to  the  names  and  country  of  those  from 
whom  the  Greeks  received  the  first  lessons  of 
such  an  exercise  (dancing.)  Some  pretend, 
and  amongst  the  number  Theophrastus,  that 
a  certain  flute  player  named  Andron,  a  native 
of  Catania,  in  Sicily,  was  the  first  who  ac- 
companied the  notes  of  his  flute  with  various 
movements  of  the  body,  which  fell  in  harmony 
with  his  music. 

Lucian  attributes  its  invention  to  Rhea, 
who  taught  it  to  her  priests  in  Phrygia  and 
the  Island  of  Crete.  Others  suppose  that  it 
is  owing  to  the  Tournns,  or,  at  least,  that  it 
was  they  who  brought  it  to  perfection.  These 
last  seemed,  more  than  any  other  people,  des- 
tined by  nature  to  practise  it.  They  excelled 
in  voluptuous  dances. 


BISE  AND  PBOQEESS  OF  DANCING.  13 

Dancing  and  music  were  more  particularly 
cultivated  by  the  Greeks  than  by  the  rest 
of  the  ancients.  The  Athenians  were  fond 
of  the  former  in  th©  extreme.  Plato  and 
Socrates  approved  of  it ;  the  Thessalians  and 
Lacedemonians  deemed  it  equal  in  rank  with 
any  other  of  the  fine  arts. 

Cliophantes,  of  Thebes,  andEschylus,  greatly 
advanced  the  progress  of  dancing.  The  latter 
introduced  it  in  his  pieces,  and,  by  uniting 
together  all  the  imitative  arts,  gave  the  first 
models  of  theatrical  representations.  Painting 
had  a  great  share  in  adding  to  their  charms, 
and  the  pencil  of  Agatharcus,  under  the  direc- 
tions of  that  celebrated  dramatist,  traced  the 
first  ornaments  of  the  stage.  This  Agathar- 
cus wrote  a  work  upon  scenic  architecture, 
which  must  have  then  been  very  valuable  and 
useful. 

A  few  centuries  afterwards,  when  the  Ro- 
mans exhibited  magnificent  and  ravishing 
spectacles  in  the  same  style  as  the  Greeks, 
dancing  obtained  the  praises  of  Lucian,  Apu- 
leius,  Martial,  Seneca,  &c.,  and  was  especially 
practised  in  pantomimes,  a  sort  of  perform- 
ance wholly  unknown  to  the  Greeks.  These 
pieces  were  composed  of  comip  or  heroic  sub- 
jects, expressed  by  gesture  and  dances.  The 
names  of  Pyladus  and  Bathyllus,  the  original 
authors  of  the  pantomimic  art,  remain  cele- 
brated on  the  pages  of  history,   as  famous 


14  EISE  AND  PROGRESS  OF  DANCINa. 

performers  of  these  kind  of  ballets,  then  called 
Italic  dances : — 

**  La  Pantomime  est  due  a  I'antique  Italie, 
onmeme  elle  eclipsa  Melpomene  et  Thalie." 

Chenikr. 

The  Romans  were  all  enraptured  with  these 
pantomimes,  and  blessed  the  tyrant  (Augustus) 
whose  policy  well  knew  how  advantageous  it 
was  to  him  to  afford  them  amusement. 

The  primitive  Romans  called  dancing  SaU 
tatioy  and  the  Greeks  Orchems.  Salius,  an 
Arcadian,  was  the  first  who  taught  the  former 
the  Ars  Saltations. 

With  them,  therefore,  the  original  dance 
was  the  Salian,  which  consisted  in  the  imita- 
tion of  all  the  gestures  and  motions  that  man 
can  possibly  make.  In  this  class  of  gymnas- 
tics, the  mimics  and  buffoons  usually  exercised 
themselves. 

According  to  the  information  we  derive  from 
such  authors  as  have  treated  of  the  dances 
of  their  times,  confirms  the  opinion  that  this 
Saltation,  properly  so  called,  must  have  been 
something  very  similar  to  the  grotesque  kind 
of  performances  so  prevalent  in  Italy,  a  few 
years  ago,  but  which  seems  at  present  al- 
most banished  from  the  theatres  of  that  coun- 
try. The  Italian  grotesque  is  nothing  but 
leaps,  tumbling,  feats  of  strength,  &c.,  and 
cannot  be  endured  except  in  ballets  of  the 
burlesque    and    extravagant    kind.      Marino 


RISE  AND  PROGRESS  OF  DANCING.  16 

describes  a  grotesque  actor  in  the  following 
manner : — 

"  One  who  Tentures  on  prodigious  exer- 
tions, so  extraordinary  and  so  dangerous,  that 
they  inspire  at  once  both  horror  and  admi- 
ration." 

The  corruption  that  had  crept  into  the 
theatrical  exhibitions  of  ancient  Rome,  in- 
duced Trajan  to  forbid  them  entirely.  Some 
time  after  that  emperor's  death  they  again 
made  their  appearance,  but  still  accompanied 
with  the  same  obscenities  to  which  they  owed 
their  decline ;  the  Christian  Pontiffs,  there- 
fore, followed  the  example  of  Trajan,  by  pro- 
hibiting them  again. 

At  length,  after  a  lapse  of  some  ages,  mo- 
dern Italy  brought  forth  Bergonzo  di  BottOy 
the  reviver  of  dancing,  music,  and  histrionio 
diversions.  He  signalized  himself  in  the  fete 
which  he  prepared  for  Galeazzo,  Duke  of 
Milan,  on  the  marriage  of  that  prince  with 
Isabella  of  Arragon.  The  taste  and  magnifi- 
cence displayed  in  his  superb  festival  at  For- 
tona,  was  imitated  by  all  the  principal  towns 
of  Italy,  who  seemed  eager  to  concur  in  the 
regeneration  of  those  agreeable  arts. 

Italy  lias  at  different  times  been  the  garden 
of  every  art  and  science.  It  was  there  that 
Dante,  Columbus,  Galileo  and  Machiavel  were 
born ;  and  there  also  was  the  enchanting 
Terpsichore  honored,  under  a  more  pleasing 


16  RISE  AND  PROGRESS  OF  DANCING. 

and  elegant  form  than  antiquity  had  bestowed 
upon  her. 

'*  D'  ogni  bell  arte  non  sei  madre,  o  Italia  ?'* 
Silvio  Pellico. 

We  may  therefore  say,  that  the  Italians 
were  the  first  to  subject  the  arms,  legs  and 
body  to  certain  rules,  which  occurred  about 
the  sixteenth  century. 

Taste  and  experience  having  at  length  esta^ 
blished  precepts  whereby  the  steps,  attitudes, 
and  motions,  were  systematically  arranged,  all 
was  done  afterwards  according  to  method,  and 
in  strict  harmony  with  the  time  and  cadence  of 
the  accompanying  music.  The  works  of  the 
best  sculptors  and  painters  must  have  served 
as  models  towards  the  attainment  of  grace  and 
elegance,  in  the  various  postures  adopted  in 
dancing,  as  they  did  to  the  Greeks  and  Komans 
in  their  dumb  shows,  &c.  The  artists  of  an- 
tiquity pointed  out  the  goal  to  us,  and  we  have 
obtained  it.  The  pleasures  of  dancing  are 
universally  known,  at  least  to  those  who  prac- 
tice it ;  such  as  do  not,  cannot  be  deemed 
competent  judges.  Let  us,  therefore,  now 
examine  its  utility.  This  is  not  the  slightest 
of  its  advantages,  nor  that  which  must  excite 
the  smallest  interest. 

Dancing  was  upheld,  no  less  than  music,  as 
an  object  of  much  importance  by  the  ancients. 
Religion  claimed  it  as  one  of  her  chief  orna- 
ments on  all  solemn  occasions,  and  no  festivals 


BISB  AND  PB0QEB8S  OP  DAKCINO.  17 

were  given  without  uniting  it  to  the  other  cere- 
monies or  diversions.  The  holy  writings 
mention  it  in  many  places.  It  was  not  only 
reckoned  in  a  high  degree  honorable,  but,  as 
Pariset  and  Villenuve  observe,  it  was  the  ob- 
ject of  a  number  of  laws  made  by  various  ancient 
legislators,  who  introduced  it  into  education, 
as  a  means  of  strengthening  the  muscles  and 
sinews,  of  preserving  the  agility  and  develop- 
ing the  gracefulness  of  the  human  frame. 

Plato,  the  greatest  philosopher  of  antiquity, 
did  not  consider  music  and  dancing  as  mere 
amusements,  but  as  essential  parts  of  religious 
ceremonies  and  military  exercises.  In  his  book 
of  laws  he  prudently  prescribed  such  limits  to 
music  and  dancing  as  were  most  likely  to  keep 
them  within  the  bounds  of  utility  and  decency. 

The  Greeks  frequently  amused  themselves 
with  dancing,  and  carefully  practiced  it,  on  ac- 
count of  its  immediate  tendency  to  the  improve- 
ment of  gesticulation,  from  whence  it  derived 
the  name  of  *  Chironomia.  Theseus,  Achilles, 
Pyrrhus,  an (i even  Socrates,  as  also  many  othei* 
illustrious  men,  often  diverted  themselves  by 
means  of  this  art.  In  short,  from  the  remotest 
ages  a  multiplicity  of  high  authorities  have 
8uccessi"vely  proved  that  dancing  tends  equally 
to  our  amusement,  and  to  our  instruction.  The 
whole  body  moves  with  more  freedom,  and  ao- 


*Chironomia,  a  word  signifying  the  art  of  making. 

gesticubtions. 
2 


18  MSB  AND  PROGRESS  OF  DANCIXa. 

quires  an  easy  and  agreeable  appearance,  the 
shoulders  and  arms  are  thrown  back,  the  infe- 
rior limbs  attain  greater  strength  and  elasticity, 
the  muscular  masses  of  the  hips,  thighs  and  legs, 
are  systematically  displayed,  the  feet  are  con- 
stantly turned  outwards,  and  in  the  gait  there 
is  something  peculiar,  by  which  we  immediately 
discover  a  person  that  has  cultivated  dancing. 

Dancing  is  of  signal  service  to  young  people 
at  that  time  of  life  when  motion  is  almost  a  natu- 
ral want,  and  the  exertions  of  their  strength  is 
the  surest  means  of  increasing  it. 

Dancing  ought  to  form  a  part  of  the  physi- 
cal education  of  children,  not  only  for  the  bet- 
ter health,  but  also  to  counteract  the  many 
vicious  attitudes  and  habits  which  they  too 
often  contract. 

The  art  of  dancing  is  not  only  necessary, 
but  almost  indispensable  to  those  who  are  fond 
of  society.  The  manner  of  presenting  one's 
self,  and  of  receiving  others,  in  company,  with 
a  graceful  propriety,  and  the  easy  and  polite 
demeanor  which  is  so  becoming  in  society,  is 
acquired  most  effectually  by  those  who  have 
studied  the  art  of  dancing. 

All  persons,  whatever  may  be  their  condition 
in  society,  wish  for  strength  and  activity ;  all, 
I  may  next  venture  to  say,  are,  or  would  be 
glad  to  possess  physical  beauty.  It  is  a  natu- 
ral desire.  And  among  those  whose  rank  or 
fortune  enables  them  to  frequent  good  com- 


RISE  AND  PEOaUESS  OF  DANCING.  19 

pany,  there  are  very  few  who  do  not  wish  to 
unite  to  those  three  good  qualities,  elegance 
of  carriage  and  deportment.  Now  nothing 
can  render  the  frame  more  robust  and  grace- 
ful than  dancing.  Every  other  kind  of  gym- 
nastics strengthen  or  beautify  particular  parts, 
whilst  they  weaken  others,  and  make  them  in 
a  manner  difform.  Fencing  invigorates  the 
arms  and  legs,  but  renders  the  frame  some^ 
what  unshapely.  Horsemanship  increases  the 
thickness  of  the  loins,  but  debilitates  the  thighs. 
In  short,  all  other  exercises  leave  something 
disagreeable  about  those  who  practice  them ; 
neither  singly  nor  conjointly  can  they  bestow 
that  becoming  aspect  and  those  agreeable  man- 
ners which  dancing,  when  well  taught,  never 
fails  to  impart.  By  it  the  head,  arms,  the 
hands,  legs,  feet,  in  short  all  parts  of  the  body 
are  rendered  symmetrical,  pliant  and  graceful. 

Dancing  is  extremely  useful  to  women, 
whose  delicate  constitutions  require  to  be  - 
strengthened  by  frequent  exercise,  and  must 
be  very  serviceable  in  relieving  them  from 
that  unhealthy  inaction,  to  which  so  many  of 
them  are  usually  condemned. 

Captain  Cook  wisely  thought  that  dancing 
was  of  special  use  to  sailors.  This  famous 
navigator,  wishing  to  counteract  disease  on 
board  his  vessels  as  much  as  possible,  took 
particular  care,  in  calm  weather,  to  make  his 
Bailors  and  marines  dance  to  the  sound  of  the 


20  BISB  AND  PE00RE8S  OF  DANCING. 

violin,  ftnd  it  was  to  this  practice  that  he  mainly 
ascribed  the  sound  health  which  his  crew  en- 
joyed during  voyages  of  several  years'  continu- 
ance. The  dance  they  generally  indulged  in 
is  called  the  Hornpipe  ;  is  of  a  most  exhilara- 
ting character,  perhaps  more  vivid  than  the 
Tarantella  dance. 

Bodily  exercise,  says  an  English  writer,  is 
conducive  to  health,  vigor,  liveliness,  a  good 
appetite,  and  sound  sleep ;  but  a  sedentary  oc- 
cupation occasions  many  derangements  in  the 
nervous  system,  which  saddens  and  often 
shortens  existence,  disturbs  repose,  produces  a 
certain  disrelish  for  every  thing,  and  brings  on 
a  continued  languor  and  listlessness,  of  which 
it  is  sometimes  difficult  to  discover  the  cause. 

The  most  celebrated  disciples  of  Hippocrates 
concur  in  recommending  dancing  as  an  ex- 
cellent remedy  for  a  number  of  diseases. 
Tissot  absolutely  orders  it  to  be  practiced  in 
all  the  schools ;  for  the  minds  of  young  persons, 
burthened  with  continual  study,  require  some 
amusement  above  the  trivial  kind,  on  which  it 
may  fix  with  pleasure. 

A  laborious  and  painful  life  are  a  capital 
regimen  for  melancholy  and  sadness.  Mr. 
Owen,  the  philanthropist,  establishes  dancing 
as  the  most  rational  and  innocent  of  amuse- 
ments, for  the  little  commonwealth  of  his 
operatives  at  the  cotton  factories  at  Lanark, 
Scotland — which  had  the  obvious  effect  of  elo- 


EISE  AND  PROGRESS  OF  DANCING.  21 

vating  their  minds  and  habits  above  demoraliz- 
ing pastimes,  and  by  softening  their  manners, 
increased  in  a  ratio  their  social  affections. 

The  Prussian  government  has  made  music 
and  dancing  a  part  of  the  education  of  all — 
knowing  well  its  refining  influences ;  and  the 
educational  system  of  that  country  has  been 
held  up  here,  as  the  envied  model  of  perfection. 
If  we  look  at  France,  the  soil  of  universal 
gayety,  innate  politeness  and  smiling  faces,  we 
cannot  fail  to  trace  such  results,  but  to  the  in- 
nocent exhilarating  effects  of  music  and  danc- 
ing. As  the  evening  shades  cast  their  mellow 
and  cooling  mantle  over  the  verdant  lawn,  the 
peasantry  assemble  in  their  best  attire,  and 
with  a  band  of  two  or  three  violins  and  a  bass, 
^^  trip  it  on  the  light  fantastic  toe'^ — ^^  until 
tired  nature  invites  to  sweet  repose"  Those 
who  have  witnessed  these  rural  sports  in  that 
beautiful  country,  may  well  exclaim  with 
Sterne,  a  cheerful  and  contented  mind  is  the 
best  adoration  to  pay  its  Creator. 

Since  the  period  of  Beauchamp,  who  may 
be  said  to  have  founded  the  opera  dancing  in 
the  reign  of  Louis  the  Fourteenth  of  France, 
it  has  undergone  many  changes  and  novel 
improvements.  No  one  will  deny  that  it  is 
not  conducive  to  pure  pleasure,  and  this  de- 
sirable result  has  been  effected  through  tho 
medium  of  classic  taste  arranging  all  the 
accompU«hments  of  the  fascinating  Goddess^ 


22  RISE  AND  PROGRESS  OF  DANCING. 

and  which  has  had  the  tendency  to  ameliorate 
one  of  the  most  elegant  and  rational  of  amuse- 
ments. 

In  conclusion  ;  dancing,  besides  the  amuse- 
ment it  affords,  serves  to  improve  our  physi- 
cal, and  even  to  animate  our  moral  powers ; 
gives  relief  in  certain  diseases,  affords  a  cure 
in  others,  promotes  the  harmony  of  society, 
and  is  a  most  requisite  accomplishment  for  all 
who  have  the  happiness  to  possess  a  good 
education. 

«  Quacunquo  potei  dote  placere  place. ^' — Ovtd. 


PRIVATE  DANCING. 


**  They  move  easiest  who  have  learned  to  dance." 

POPK. 

Several  persons  have  employed  themselves 
in  writing  systems  for  teaching  private  danc- 
ing, but  their  works  contain  the  universal 
fault  of  every  performance  that  has  appeared 
upon  the  subject  of  dancing  in  general,  namely, 
•a  want  of  principles,  positively  and  clearly 
stated:  such  works  are  read,  but  almost  no- 
thing can  be  learned  from  them. 

In  giving  theoretical  laws  for  the  formation 
of  any  art,  and  presenting  means  to  bring  that 
art  to  perfection,  not  only  ought  the  laws  to  be 
clear,  but  the  means  should  be  practiced. 
Never  can  we  demonstrate  so  plainly  to  others, 
as  when  we  ourselves  have  seen  and  expe- 
rienced that  upon  which  we  discourse.  In  the 
meantime,  we  dare  flatter  ourselves  that  our 
treatise  will  not  be  found  to  deserve  those 
criticisms  which  we,  from  a  regard  to  the  in- 
terests of  the  rising  generation,  have  been 
obliged  to  pass  upon  other  performances  of  the 
same  nature.  We  have,  therefore,  been  par- 
ticularly careful  in  the  lessons  to  pupils,  upon 
the  grace  of  their  position,  and  the  elegance 

23 


24  PRIVATE  DANCI5Q. 

of  contour  in  their  attitudes  while  dancing; 
attainments  in  the  art  which  are  both  delight- 
ful and  essential ;  but,  at  the  same  time,  ex- 
tremely difficult  to  acquire.  To  arriye  at  this 
desirable  object,  we  shall  more  clearly  explain 
ourselves  by  the  aid  of  engraved  figures,  rep- 
resenting every  position  of  which  this  species 
of  dancing  is  capable.  In  designing  these 
figures,  we  have  been  careful  to  adhere  to  the 
dictates  of  taste  and  art.  Any  dancer  may  be 
capable  of  executing  a  chasse,  b.  pas  de  hourrie^ 
a  contre-temsj  &c.  ;  but  that  genteel  air,  those 
graceful  manners,  and  picturesque  action, 
which  are  expected  from  those  who  have 
learned  the  art  of  dancing,  are  not  to  be.  ac- 
quired from  all  dancing-masters,  many  of 
whom  are  usually  unwilling,  or  unable,  so 
profoundly  to  study  their  art,  as  to  produce  on 
their  pupils  this  important  effect. 

Although  the  system  of  private  dancing 
does  not  require,  af  those  who  practice  it, 
either  extraordinary  abilities  or  an  intense  ap- 
plication, in  order  to  arrive  at  perfection; 
there  must,  however,  be  inherent  in  them  cer- 
tain physical  qualifications,  and' some  capacity 
to  insure  success.  Without  these,  a  person 
would  appear  awkward  and  ridiculous  in  danc- 
ing ;  and  it  is  far  preferable  to  be  a  passive 
spectator  than  a  clumsy  performer.  It  may 
be  observed  also,  that  while  a  knowledge  of 
dancing  adds  to  the  attractions  of  a  figure, 


PRIVATE  DANCING.  25 

naturally  symmetrical  and  agile,  it  serves  but 
to  reilder  still  more  conspicuous  those  who  are 
incurably  ill-shaped,  unconquerably  heavy,  or 
insensible  to  any  graceful  motion. 

Private  dancing  derives  its  origin  from  the 
theatrical  dancing,  and,  therefore,  may  be 
made  serviceable  to  the  amateur,  as  well  as 
the  professors  of  the  art;  such  is,  for  instance, 
the  common  mode  of  carrying  ont^s-self — the 
gait — some  of  the  practical  movements — some 
of  the  postures — a  certain  number  of  the  steps 
and  footings — and,  in  short,  the  gracefulness, 
the  lightness,  the  liveliness,  the  elegance,  which 
are  qualifications  almost  indispensable  to  every 
genteel  person.  The  manifest  utility  and  ad- 
vantages to  be  derived  from  it,  even  by  those 
who  do  not  practice  this  attractive  art,  ex- 
cepting simply  for  their  amusement,  or  as  a 
kind  of  finish  to  an  accomplished  education  ; 
we  shall  now,  more  particularly,  treat  of  the 
mechanical  part,  the  theory  of  that  species  of 
dancing  which  is  practiced  in  polite  society, 
and  studied  by  well  bre^  and  fashionable  per- 
sons. 

As  soon  as  the  dancing-master  shall  have 
ascertained  the  natural  qualifications  and  abili- 
ties of  the  learner,  it  will  be  his  business  to 
begin  by  showing  him  the  five  positions,  in 
each  of  which  he  must  make  him  bend,  and 
then  raise  himself  upon  the  point  of  th4  toe. 
He  will  then  teach  him  to  make  petits  batte- 


26  PRIVATE  DANCING. 

mens  tendus  upon  the  insteps ;  and,  also,  even 
petits  rond-de-jambes  a  terre,  inwards  afid  out- 
wards. The  learner  must,  at  first,  practice 
with  holding,  and  then  afterwards  without,  in 
order  to  acquire  the  proper  balance. 

The  master  ought  to  place  the  body  and 
arms  of  the  learner  in  a  right  position,  so  &3 
to  render  all  the  attitudes  commanding  and 
graceful. 

The  art  of  stepping  with  grace,  of  making  a 
bow,  of  introducing  one's-self,  and  of  carrying 
one's-self  in  company,  are  essential  points,  and 
such  as  ought  to  be  rendered  as  natural  as 
possible  to  the  learner. 

To  execute  the  bow  properly,  the  following 
rules  must  be  observed: — When  walking,  stop 
in  such  a  manner  that  the*weight  of  the  body 
may  rest  upon  that  leg  which  is  advanced ; 
then,  moving  the  one  behind,  cause  it  to  as- 
sume the  fourth  hinder  position,  the  third,  and 
the  second.  Having  arrived  at  the  latter,  shift 
the  stress  of  the  body  upon  the  leg  forming 
it,  and  bring  the  other  leg  round  into  the  first 
position,  the  heels  being  placed  against  each 
other,  and  the  toes  turned  outwardly.  (See  cut  1.) 
After  having  bent  the  knees  properly,  incline 
the  body  according  as  it  is  represented  in  the 
figure.  Let  your  arms  fall  easily  and  naturally, 
and  let  your  head  assume  an  unaffected  incli- 
nation ;  for  every  movement  must  be  executed 
with  an  easy  air.     Having  made  the  salute, 


PRIVATE  DANCING.  27 

1  gm^     2 


THE  BOW. 


Blowly  raise  your  body  to  its  usual  perpendi- 
cular attitude,  regain  your  customary  deport- 
ment, disengage  the  leg  which  had  been  placed 
in  the  first  position  behind,  changing  it  into 
the  fourth  behind,  and  shift  the  weight  of  the 
body  upon  that  leg.  Whether  you  intend  to 
renew  the  salute,  or  to  continue  your  walk, 
always  finish  upon  the  advanced  leg.  Usually, 
and  in  society  where  it  is  not  absolutely  neces- 
sary to  observe  a  strict  etiquette,  the  salute  is 
generally  executed  in  the  third  position,  but 
the  feet  must  be  always  turned  outwardly. 
(See  cut  2.) 
Ladies,   when  performing  their  courtesy, 


28 


PRIVATE   DAKCINa 


fUS  COCHTKST 


PRIVATE  DANCING.  29 

must  proceed  in  the  same  manner  as  gentle- 
men, excepting  that  they  should  incline,  after 
the  foot  has  assumed  the  first  position,  in  order 
to  stop  on  the  fourth  position  behind,  when  the 
knees  must  bend,  and  the  head  and  body  in- 
cline, to  complete  the  courtesy. 

The  remaining  positions  and  attitudes  of 
ladies  and  gentlemen  in  Quadrilles,  will  ap- 
pear plainly  from  the  cuts  appended  to  the 
Cotillions. 

After  these  introductory  studies  and  exer- 
cises, which  constitute  the  ground  work  of 
dancing,  and  which  lead  the  way  to  the  per- 
fection of  every  thing  that  is  connected  with 
it,  the  master  ought  next  to  give  his  pupil  an 
insight  into  the  knowledge  of  steps,  the  ob- 
servance of  time.  Quadrilles  or  country  dances, 
Waltzing,  Folka  Quadrilles,  and  every  other 
description  of  dancing  which  is  in  request  in 
good  society.  The  pupil  must  be  cautious 
how  he  progresses  in  the  above  named  dances, 
until  after  he  has  \  racticed  for  some  time  upon 
the  inceptive  principles ;  for  his  good  or  bad 
success  entirely  depends  upon  the  first  lessons, 
and  upon  his  assid\,  ity  in  the  rudimental  task. 
Care  must  be  continually  taken  to  draw  a  line 
of  distinction  between  private  dancing  and 
theatrical  dancing.  It  would  be  improper  to 
introduce  certain  scientific  steps  and  elevated 
movements  into  a  ball  room,  where  every  cir- 
cumstance shows  that    movements    of   this 


oa  PRIVATE  BANCINa. 

description  would  be  out  of  place,  and  conse- 
quently would  produce  an  improper  effect. 

Private  dancing  requires  steps  terri-a-terre^ 
and  the  most  simply  natural  postures  possible. 
The  ladies,  in  particular,  ought  to  dance  with 
a  sort  of  amiable  circumspection  and  a  becom- 
ing grace,  which,  indeed,  add  to  their  charms, 
and  heighten  their  attractions.  Gentlemen 
ought  always  to  be  attentive  to  their  partners, 
and  they  should  all  of  them  move  in  unison  in 
every  step  and  attitude.  They  ought  also  to 
be  careful  in  paying  attention  to  the  air  of  the 
music,  and  in  showing  that  they  feel  all  the 
harmony  and  expression  of  it. 

The  learner  must  preserve  his  arms  placed 
in  the  position  which  is  termed  demi-hras. 
With  respect  to  the  collocation  of  the  joints, 
and  the  inflections  of  the  body,  it  will  be  ne- 
cessary for  the  learner  to  subject  himself  to 
the  same  practice  as  the  theatrical  dancer,  in 
order  that  his  dancing  may  produce  a  pleasing 
effect. 

We  may  here  observe,  that  even  amateurs, 
both  in  the  preparation,  during  the  perform- 
ance, and  at  the  conclusion  of  their  steps  and 
cnchainemens^  ought  always  to  stand  in  the  fifth 
position,  and  not  in  the  third;  for  the  more 
the  feet  are  crossed,  the  more  precipitate  the 
footing  is,  and  the  more  showy  the  dancing : 
it  is  a  natural  consequence,  and  it  cannot  be 
obtained,  except  by  accustoming  the  learners 


PRIVATE  DANCING.  81 

not  to  cross  their  feet  but  in  the  third  position. 
Besides,  this  method  assists  the  dancers  in 
turning,  and  enables  them  to  acquire  the  pleas- 
ing quality,  turning  with  facility.  He  who 
has  not  his  feet  well  turned  out,  loses  all  the 
beauty  of  his  steps.  As  to  the  movements  of 
the  body,  they  are  nearly  the  same  as  those 
practiced  by  stage  dancers,  with  this  difference 
only,  that  they  should  not  be  carried  to  that 
grandeur  and  elevation,  should  have  less  im- 
pulse, and  be  modified,  and  adapted  to  the 
circle  of  private  dancing.  The  legs  ought  to 
be  raised  from  the  ground  but  very  little  above 
the  method  of  the  second  position  ;  however, 
gentlemen  may  raise  them  something  higher; 
the  peculiar  style  of  their  dancing  being  more 
powerful  and  unrestrained,  will  admit  of  more 
elevated  steps.  It  is  not  necessary  that  the 
arms  and  bust  should  be  kept  in  violent  motion, 
they  may  rather  remain  in  graceful  repose. 
Let  the  head  be  held  erect,  and  the  chin  in  a 
very  slight  degree  elevated ;  gracefully^ncline 
the  head  to  the  motion  of  the  body  and  arms. 
Let  your  countenance  be  expressive  of  cheer- 
fulness and  gayety,  and  let  an  agreeable  smile 
ever  play  about  your  mouth.  Keep  your 
shoulders  down,  bring  your  chest  forward,  let 
your  waist  be  compressed,  and  sustain  yourself 
firmly  on  your  loins.  Let  your  bosom  project 
ft  little,  for  this  confers  gracefulness  on  the 
dancer's  attitude.     Let  your  shoulders  move 


Si  PEIVATE  DANCING. 

With  elegance,  and  naturally — let  your  elbows 
be  curved,  never  squared,  your  fingers  so 
grouped  together  as  to  correspond  with  the 
contour  of  the  arms. 

Ladies  must  hold  their  dresses  with  the  tips 
of  their  fingers ;  their  arms  must  be  placed 
similar  to  the  gentlemen's.  The  arms  serve 
for  an  ornament  to  the  body,  and  they  ought 
to  follow  its  movements  with  easy  elegance. 
Let  your  body  recline,  as  it  were,  upon  the 
hips,  and  let  the  latter  expand  themselves,  in 
order  to  facilitate  the  motions  of  the  legs. 
Turn  out  your  knees,  and  strive  to  give  them 
pliancy,  and  to  curve  them  well.  By  this 
means  they  will  aid  all  the  movements  of  the 
time  and  the  steps.  Let  your  feet  be  always 
turned  out,  and  let  your  insteps  acquire  a  de- 
gree of  suppleness,  and  at  the  same  time  of 
strength,  a  circumstance  which  will  give  you 
a  facility  in  curving  the  feet,  in  rising  upon 
the  toes,  and  in  shifting  the  legs.  The  toes 
ought  to  be  kept  firm  to  the  ground,  and  they 
should  assist  in  giving  effect  to  the  steps,  and 
in  making  the  time.  In  short,  let  each  suc- 
ceeding step  be  well  connected  with  the  other, 
and  let  all  bo  executed  with  an  easy  elegancej  * 
and  steady  grace. 


FIRST  EXERCISES  AND  POSITIONS. 


The  following  cuts  illustrate  the  five  posi- 
tions as  taught  in  private  dancing. 


FIRST  POSITIONS. 


lu  the  first  positions  the 
legs  are  much  extended, 
the  two  heels  close  to  each 
other,  the  feet  turned  com- 
pletely outwards  in  a 
straight  line ;  the  body, 
without  stiffness,  should 
h3  kept  perfectly  erect ; 
the  shoulders  are  thrown 
unrestrainedly  back — the 
arms  gently  rounded,  the 
fore-finger  and  thumb 
holding  the  drapery  or 
part  of  the  dress,  the  back 
of  the  hand  arched,  the  fingers  gracefully 
grouped. 

3  88 


34 


FIEST  EXERCISES  AND  rOSITIOKS. 


In  the  second,  the  legs  are  more  apart,  but 
only  by  the  length  of  the  foot.  It  is  formed 
by  moving  the  right  foot  from  the  first  position 
sideways,  the  toe  resting  on  the  floor,  the  heel 
raised — the  instep  arched — the  toes  on  a  paral- 
lel with  the  shoulders.  (See  fig.  2.) 
2 


In  the  third,  the  feet  half  cross  each  other, 
and  are  close  together.  This  position  is  exe- 
cuted by  drawing  the  right  foot  from  the 
second  position  to  the  middle  of  the  left  foot, 
the  heel  of  the  right  resting  in  the  hollow  of 
the  left — both  feet  flat,  the  toes  well  out;  (See 
fig.  3.) 

The  side  view  of  the  fourth  position,  the 
feet  flat  on  the  ground.  (See  fig.  4.)  The  fourth 
is  very  similar  to  the  third,  with  this  difference, 
that  the  feet  half  cross  each  other  without 


riRST  EXEECISES  AND  POSITIONS. 


36 


touching.  This  position  is  formed  by  moving 
the  front  foot  its  own  length  forward  from  the 
third  position,  turning  the  heel  out  in  its  pro- 
gress, which  will  bring  the  right  knee  and 
toe  out. 

4  i 


The  fifth  position,  the  pupil  draws  the  right 
foot  in  the  fourth  position  back  to  the  left  foot, 
that  the  right  heel  may  touch  the  toes  of  the 
left,  the  feet  crossing  each  other  entirely. 
The  right  heel,  in  this  position,  is  gradually 
brought  to  the  ground  as  it  approaches  the 
left  foot,  as  in  drawing  the  left  foot  from  the 
second  to  the  third.    (See  fig.  5.) 

In  all  these  positions  the  knees  must  be  beut 
without  raising  the  heels  in  the  least  from  the 
ground;  but  to  give  flexibility  and  strength  to  the 
instep  they  should  be  often  practiced  on  th  e  toes. 


86 


fIBST  aXfiROlSKS  AND  POSITIONS. 


The  following  moda 
of  practice  in  Batte- 
ments  en  atant  (before) 
and  Battements  en  ar- 
riere  (behind),  may  be 
found  of  great  utility 
in  prirate  dancing. 

Cut  6  —  Battements 
en  avant  (before). 

Cut  7  —  Battements 
en  arriere  (behind), 
are  executed  by  cast- 
ing the  right  foot  up 
behind  in  the  fourth 
position. 


FIRST  EXBBCI8ES  AND  POSITIONS.  37 

8 


Cut  8 — Battements  on  the 
second  position  may  be  made 
in  the  same  manner  as  cut  7. 

Cut  9 — Representing  the 
pupil  rising  on  the  points  of 
the  toes.  After,  the  pupil 
is  easy  in  her  bendings,  she 
will,  by  degrees,  endeavor  to 
rise  on  the  toes.  In  this 
exercise  the  pupil  will  be 
careful  not  to  change  the 
position  from  which  the 
rise  shall  have  been  made. 
It  is  effectual  in  strengthen-  9 

ing  the  instep — muscles  of  the  ancle  and  toes, 
imparting  to  the  whole  nether  limb  elasticity, 
firmness,  and  certainty  of  execution. 


88 


riRST  EXKB.0I8ES  AND  POSITIONS. 


Cut  10— Petits  Battements 
aur  le  coude-pied,  or  on  the 
instep.  These  more  properly 
belong  to  theatrical  dancing. 
They  are  practiced  to  impart 
ease  and  elevation  in  what 
is  technically  termed  the 
aplomb,  or  a  steady  perpen- 
dicular. 

Position  of  the  courtesy, 
(cut  11)  is  the  bending  -with 
the  right  foot  in  the  fourth 
position,  behind.  Cut  12 — 
standing  in  the  fourth  posi- 
tion in  repose,  after  having 
arisen  from  the  bend ;  or  may  be  assumed  as 
the  position  before  or  after  the  courtesy. 


PIBST  EXERCISES  AND  POSITIONS.  39 

THEATRICAL  POSITIONS. 


40 


FIE8T  EXEECISE9  AND  POSITIONS. 


Cut  1 — First  position.    Arms  in  the  second. 

Cut  2 — Second  position.  Feet  flat  on  the 
ground.  Position  of  the  arms,  demi-hras;  or, 
half  arm. 

Cut  3 — Second  position  on  the  toes. 

Cut  4 — Bend  in  the  second  position. 

Cut  6 — Manner  in  which  a  dancer  should 
hold  himself  in  practicing ;  leg  in  the  second 
position. 

Cut  6 — Legs  in  the  third  position,  half  arni 
in  opposition,  demi-bras. 

Cut  7 — Position  of  the  body,  demi-bras,  and 
legs  in  the  fourth  position,  side  view. 


riBST  EXEKCISES  AND  POSITIONS. 


41 


Cut  8 — Arms 
extended  in  op- 
position ;  legs 
in  the  fifth  po- 
sition. 

Cut  9 — Arms 
encircling  over 
head,  and  legs 
in  the  fifth  po- 
sition on  the 
toes. 

Cut  10  — 
Fourth  position 
forwards  and  in 
the  air ;  arms 


42  PIEST  EXEECISES  AND  POSITIOMS. 


in  the  second 
position — eid© 
view 

Cut  11  — 
Same  position 
on  tlie  toe  — 
arms  in  oppoT 
sition.  —  Front 
view. 

Cut  12  — 
Fourth  posi- 
tion, leg  in  the 
air,  behind  — 
Side  \'iew 


IlEST  EXERCISKS  AND  POSITIONS.  43 


Cut  13 — Position  of  a 
pirouette  on  the  instep. 

N.  B. — The  position  on 
the  toes  of  the  first,  third, 
and  fourth  positions,  and 
the  bendings  in  the  four 
others,  are  omitted,  not  for 
the  sake  of  decreasing  the 
number  of  cuts,  but  that 
these  positions  are  very 
easily  understood,  and  exe- 
cuted without  the  assist- 
ance of  wood  cuts. 


44  FIRST   EXECISES  AND  POSITIONS. 

BATTEMENTS. 

Battemenis  consist  of  the  motions  of  one 
leg  in  the  air,  whilst  the  other  supports  the 
body.  They  are  of  three  kinds,  viz :  Grand 
battemenis  J  petits  battcmcnts,  and  battements  on 
the  instep. 

The  tirst  are  done  by  detaching  one  leg 
from  the  other,  and  raising  it  to  the  height  of 
the  hip,  extending  it  to  the  utmost.  (Cut  5.) 
"Which  shows  also  the  manner  in  which  a  be- 
ginner must  hold  himself.  After  the  perform- 
ance of  the  battemenis  the  leg  falls  again  into, 
the  fifth  position.  They  may  be  crossed  either 
behind  or  before.  Grand  battements  enable 
a  dancer  to  turn  his  legs  completely  outwards, 
and  give  much  facility  to  the  motions  of  his 
thighs,  for  high  developments,  and  the  execu- 
tion of  the  grand  terns.  Grand  battements  are 
made  both  forwards  and  backwards.  When 
they  are  done  forwards,  the  leg  must  be  in  the 
positions  of  cuts  10  and  11 — when  backwards, 
its  position  must  be  as  cut  12. 

Fetits  battements  are  performed  after  the 
same  way,  but  instead  of  raising  the  leg  into 
the  air,  you  only  detach  it  a  little  from  the 
other  leg,  without  letting  your  toes  leave  the 
ground.  These  battements  make  the  legs 
lithsome,  because  the  pupil  is  obliged  to  re- 
double his  motions.  (See  cuts  6,  7  and  8,  of 
Private  Dancing. 'i 


FIRST  EXERCISES  AKD  POSITIONS.  45 

Pettts  baitements  on  the  instep.  It  is  the 
hip  and  knee  that  prepare  and  form  theso 
movements  ;  the  hi^  guides  the  thigh  in  its 
openings,  and  the  knee  by  its  flexion  performs 
the  baitements,  making  the  lower  part  of  the 
leg  cross  either  before  or  behind  the  other  leg, 
which  rests  on  the  ground.  Suppose  that  you 
are  standing  on  your  left  foot,  with  your  right 
leg  in  the  second  position,  and  the  right  foot 
just  touching  the  ground  at  the  toe,  cross  be- 
fore left,  by  bending  your  knee  and  opening 
again  sideways,  then  bend  the  knee  again, 
crossing  your  foot  behind,  opening  also  side- 
ways ;  and  so  continue  to  do  several  of  these 
baitements  one  after  the  other.  Gradually  in- 
crease in  quickness,  till  you  can  perform  them 
80  rapidly,  that  the  eye  cannot  count  them. 
These  baitements  have  a  very  pretty  effect, 
and  give  much  brilliancy  to  the  motions  of  the 
legs.  They  should  also  be  practiced  a  great 
deal  with  both  legs  resting  on  the  toes.  These 
last  are  appropriate  to  private  dancing — (See 
female  positions,  Nos.  6,  7,  8,  9,  and  10.) 

ROND-DE-JAMBES. 

To  begin  your  rond-de-jambes  from  the  out- 
side, take  the  same  position  as  that  in  which 
vou  commence  your  joei«^5  baitements.  Suppose 
It  is  the  left  leg  that  stands  on  the  ground, 
whilst  the  right,  in  the  second  position,  is  pre- 
pared for  the  movement^  make  it  describe  a 


46  FIRST  EXfeRCISES  AND  POSITIONS. 

semicircle  backwards,  which  brings  your  legs 
to  the  first  position,  and  then  continue  on  the 
sweep  till  it  completes  the  whole  circle,  ending 
at  the  place  from  whence  it  first  started.  This 
is  what  we  technically  term  ronch-de-jambes. 

The  ronds-de-jamhes  from  the  inside  are 
begun  in  the  same  position ;  but  the  right  leg, 
instead  of  commencing  the  circle  backwards, 
must  do  so  forward.  After  the  pupil  has  prac- 
ticed the  ronds-de-Jambes  on  the  ground,  he 
should  exercise  himself  in  performing  them 
in  the  air,  holding  the  leg  that  supports  his 
body,  on  the  toes. 

The  pupil  must  at  first  practice  in  resting 
his  hand  on  something,  that  he  may  keep  him- 
self upright,  and  exercise  each  leg  alternately. 
When  he  has  acquired  some  facility  in  this, 
let  him  practice  without  holding,  which  gives 
him  uprightness  and  equilibrium,  essential 
qualities  in  a  good  dancer.  He  will  also 
tliereby  gain  strength,  and  means  of  executing, 
with  ease,  every  kind  of  step.  He  must  re- 
peat his  practice  daily  to  establish  his  execu- 
tion ;  for  were  he  gifted  with  the  rarest  talent, 
he  can  never  become  perfect,  but  by  incessant 
application  and  study. 

OF  THE  TEMS. 

We  call  terns  a  movement  of  the  leg. 


PIRST  EXERCISES  AND  POSITIONS.  47 

OF  THE  PAS. 

The  pas  denotes  the  various  manners  of 
arranging  one's  steps  in  walking  or  in  leaping, 
either  as  he  moves  in  front  or  turns  round. 
It  generally  means  a  combination  of  steps 
arranged  to  some  musical  air :  thus  we  say, 
such  a  one  made  a  beautiful  pas  on  such  a 
chaccone,  such  a  gigue.  Fas  are  often  com- 
bined for  the  performance  of  two  or  more  per- 
sons ;  pas  de  deux,  pas  de  trois,   quatre,   cinq, 

OF  THE  LESSON. 

The  combination  of  elementary  exercises, 
and  of  the  principal  steps  of  dancing,  is  what 
is  usually  termed  the  lesson. 

The  learner  first  exercises  himself  in  bend- 
ing his  knees  in  all  the  positions,  in  the  prac- 
tice of  Grands  et  petits  battements,  the  Rond- 
de-jambes  on  the  ground  and  in  the  air,  the 
petits  battements  on  the  instep,  &c.  After- 
wards come  the  terns  de  courante  simples  et 
composes,  the  coupes  a  la  premiere  a  la  second, 
et  composes,  the  attitudes,  the  grands  rond-de- 
jambes,  terns  de  chaccone,  the  grands  fouettes 
facing  and  revolving  the  quart-de-tour,  the 
pas  de  Bourree,  and  the  various  movements  of 
different  kinds  of  pirouettes.  These  exercises 
tend  to  form  a  good  dancer,  and  afford  him 
means  of  obtaining  success.  The  lesson  con- 
cludes by  the  practice  of  pirouettes,  of  tems 


48  PIEST  EXERCISES  AKD  POSITIONS. 

terra-A-terre,  and  tems-de-vigeur.  But  after 
the  pupil  is  enabled  to  perform  all  the  exer- 
cises which  the  lesson  comprehends,  he  does 
not  yet  attain  that  end  which  he  in  the  begin- 
ning hoped  to  reach.  To  become  a  finished 
dancer,  he  must  divest  himself  of  that  school- 
boy appearance  which  necessarily  hangs  about 
him,  and  by  his  boldness  and  ease  of  execution, 
at  length  show  that  he  is  master  of  his  art 
Let  his  whole  attention  be  then  directed  to 
delight  his  beholders,  by  the  eleganca  of  his 
positions,  the  gracefulness  of  his  movements, 
the  expressive  animation  of  his  features,  and 
by  a  pleasing  abandon  diffused  throughout  his 
whole  performance.  These  qualities  constitute 
a  truly  finished  dancer,  and,  with  them,  he  is 
certain  of  enrapturing  all  who  behold  him. 

GAIT. 

A  graceful  manner  of  walking  on  the  gtage 
is  of  much  importance  to  a  dancer,  although 
a  number  of  our  artists  neglect  it,  both  in  mo- 
ments of  repose  and  in  presenting  themselves 
to  the  public  for  the  execution  of  a  pa^,  which 
is  a  serious  defect,  as  it,  in  the  first  place, 
offends  the  eye,  and  secondly,  deprives  the 
performance  of  its  pleasing  illusion. 

A  good  style  of  walking  is  very  useful,  for 
in  that  consists  one  of  the  first  qualities  that 
dancing  imparts,  which  is  a  graceful  carriage. 
Let  your  legs  be  well  extended  in  their  move* 


I 


FIRST  EXERCISES  AND  POSITIONS.  49 

ments  or  steps,  and  your  thighs  turned  per- 
fectly outwards,  all  the  lower  parts  of  your  legs 
will  then  be  turned  in  the  same  manner. 

Your  steps  should  be  no  longer  than  the 
length  of  one  of  your  feet.  Avoid  stiffness  in 
their  motions,  which  must  be  neither  too  slow 
nor  too  quick ;  as  both  extremes  are  equally 
unpleasing.  Do  not  separate  your  legs  from 
each  other  sideways.  Carry  your  head  up- 
right, and  your  waist  steadily ;  by  which 
means  your  body  is  kept  in  an  elegant  posi- 
tion. Let  your  breast  project  a  little,  and 
your  arms  fall  naturally  on  each  side. 

STUDY    OF    THE    ARMS. 

The  position,  opposition,  and  carriage  of  the 
arms,  are,  perhaps,  the  three  most  difi&cult 
things  in  dancing,  and,  therefore,  demand  par- 
ticular study  and  attention. 

Noverre,  speaking  of  opposition,  says,  that 
**  of  all  the  movements  executed  in  dancing, 
the  opposition  or  contrast  of  the  arms  to  the 
feet  is  the  most  natural,  and,  at  the  same  time, 
tne  least  attended  to." 

Opposition  gives  the  dancer  a  very  graceful 
appearance,  as  he  thereby  avoids  that  unifor- 
mity of  lines  in  his  person  so  unbecoming  a 
true  favorite  of  Terpsichore.  Should  the  pupil 
be  not  favored  with  well  made  rounding  arms, 
you  cannot  bestow  too  much  attention  on 
them;  and  endeavor  to  supply  by  art  what 
nature  has  left  you  defective  in.  Diligent 
4 


60  FIBST  EXERCISES  AND  POSITIONS. 

Btndy  and  exercise  often  render  a  thin,  long, 
angular  arm,  tolerably  round  and  elegant. 
Learn  also  to  hold  them  as  best  accords  with 
your  physical  construction.  If  you  are  short 
in  stature,  let  them  be  higher  than  the  general 
rule  prescribes,  and  if  tall,  let  them  be  lower. 
Take  care  to  make  your  arms  so  encircling 
that  the  points  of  your  elbows  may  be  imper- 
ceptible. From  a  want  of  proper  attention  in 
this  respect,  they  are  deprived  of  all  softness 
and  elegance  ;  and  exhibit  nothing  but  a  series 
of  angles,  destitute  of  taste  and  gracefulness. 
Let  the  arms  be  level  with  the  palm  of  your 
hand,  your  shoulders  low,  and  always  motion- 
less, your  elbows  round  and  well  supported, 
and  your  fingers  gracefully  grouped  together. 
The  position  and  carriage  of  your  arms  be 
soft  and  easy.  Let  them  make  no  extrava- 
gant movement,  nor  permit  the  least  stiffness 
to  c^eep  into  their  motions.  Beware  lest  they 
be  jerked  by  the  action  and  reaction  of  your 
legs:  this  is  a  great  fault,  and  suflBcient  to  de- 
grade a  dancer,  what  perfection  soever  he  may 
possess  in  the  exercise  of  his  legs. 


Oj*  As  some  obvious  errors  have  occurred  in  the 
drawing  of  the  professional  figures  through  the  inad- 
vertency of  the  artist,  especially  in  the  disposition  of 
the  arras,  the  taste  and  judgment  of  the  pupil  can  cor- 
rect them  in  practice,  by  a  reference  to  the  principles 
of  the  lesson,  which  are  very  lucid,  and  full  in  de- 
scription. 


POLKA    QUADRILLES, 

AND 

GRAND  POLKAS. 


These  novel  dances  in  this  city  have  been 
triumphantly  successful,  and  bid  fair  to  banish 
(for  a  few  seasons  at  least,)  all  other  styles 
from  the  ball  saloon.  The  figures  are  simple; 
the  step  (which  has  been  tacitly  adopted  with 
us,)  of  tne  hop  waltz  kind,  in  combination 
with  the  waltz  position,  make  it  a  very  ani- 
mated movement  and  fascinating  dance.  As 
there  is  a  mania  for  waltzing,  the  Polka  as 
danced,  largely  partaking  of  all  its  characteris- 
tics, will  doubtless  eclipse  the  old  cotillion,  and 
reign  the  ruling  star  of  the  La  belle  Assemhlte, 

JS^^  A  word  as  to  the  present  Polka  step, 
**New  York  Step,'^  ^^ Butler  Trot,"  and  various 
other  vague  appellations  by  which  it  is  called. 
The  original  Polka  waltz  step,  as  applied  in 
the  Polka  Quadrilles,  has  been  materially 
modified  in  practice,  being  the  result  of  what 
may  be  termed  accidental  invention,  by  our 
dancers.  The  Polka  composition  requires 
four  beats  to  the  bar,  one  more  beat  than  the 
waltz.  The  step  now  universally  used  is  a 
very  animated  movement;  unique  in  style, 
imparting  much  spirit  to  the  dancers.  Its 
8  113 


114  POLK.V   QUADRILLES. 

frame  work,  however,  is  an  old  Scotch  jig 
step ;  and,  as  executed  with  the  toes  inclined 
inward,  the  carriage  of  the  dancer  perfectly 
erect,  without  any  undulation,  may  thus  be 
deemed  inelegant.  If  taught  with  the  toes 
turned  out,  and  a  gentle  inclination  of  the 
body,  it  would  be  as  graceful  as  vivid  in  effect. 
This  step,  the  result  in  a  measure  of  chance, 
strange  to  say,  is  almost  acquired  by  the  pupil 
instinctively,  a  proof  of  its  attractive  attri- 
butes. 

We  herewith  subjoin  a  chorographical  de- 
scription of  the  various  Polka  Quadrille  figures 
and  Polkas,  for  two  or  more  couples. 


Note. — When  the  dancers  form  into  Quad- 
rilles, while  the  first  eight  bars  are  playing, 
the  couples  bow  and  courtesy  to  each  other, 
and  to  corner  partners. 


FIGURES 


POLKA  QUADRILLES. 

BY  STEPHEN  GLOVEB. 
AS  TAUGHT  BY  MR.  DURANG  AND  DAUGHTER. 

1.  Pantalon. — Lead  forward  four,  (4  bars,  i 
change  hands,  return  to  places ;  (4  bars, ) 
Polka  waltz  figure,  once  round,  (8  bars,) 
balance  en  carre,  (8  bars,*)  promenade  for- 
ward, (4  bars,*)  turn  without  quitting  hands, 
promenade  to  places  (4  bars,)  counterpart  for 
side  couples. 

2.  Ete. — The  first  couple  promenade  or 
waltz  up  to  their  vis-a-vis,  or  opposite  couples, 
(8  bars,)  turn  the  vis-a-vis  half  round  with 
right  hand,  (4  bars,*)  turn  back  with  the  left 
hand,  (4  bars,*)  first  couple  waltz  to  their 
places,  (8  bars.)  Counterpart  for  the  others. 

3.  PouLE. — First  couple  waltz  around  the 
side  couple  on  their  right,*  finishing  in  front 
of  them,  (8  bars,*)  Moulinet  (hands  across) 
half  round  with  the  right  hand,  (4  bars,*)  ditto 
back  with  the  left  hand,  (4  bars,*)  first  couple 
waltz  to  their  places,  (8  bars,*)  half  promenade 
with  their  vis-a-vis,  (4  bars,)  waltz  back  to 
places,  (4  bars.)  Counterpart  for  the  others. 

116 


116  POLKA   QUADRILLES. 

4.  Trenis. — The  first  couple  forward  with 
Polka  waltz — Cavalier  changing  the  lady  from 
the  right  to  the  left  hand  four  times ;  (8  bars;*) 
four  take  hands  and  execute  the  passes,  end- 
ing with  the  heel  and  toe  each  time  of  passing 
and  rejoining  hands;  (8bars;f)  first  couple 
waltz  back  to  places,  (8  bars.)  Counterpart  for 
the  others. 

5.  Finale. — The  grande  promenade  step,  all 
eight,  (8  bars,)  all  balance  en  carre,  (8  bars,) 
coquette  figure;  the  first  lady  crosses  over, 
followed  by  her  partner,  (4  bars,)  the  gentle- 
man waltzes  back  to  his  place,  followed  by 
the  lady;  (4  bars;)  first  couple  waltz  once 
round,  (8  bars,*)  all  eight  grand  promenade 
round,  (8  bars,)  all  balance  en  can-e,  (8  bars.*)  . 
The  coquette  figure,  &c.,  executed  by  the 
other  couples. 

N.  B.  The  arms  are  generally  placed  a 
kimbo  in  most  of  the  figures. 


*  Figures  marked  thus  *  require  the  heel  and  toe 
as  setting  step,  or  as  a  finish  to  a  part. 

f  This  figure  was  originally  executed  thus  : — Four 
take  hands,  round,  pass  the  kidies  from  the  left  to  the 
right  hand  four  times,  reforming  the  round  after  each 
pass.  The  passes  adopted  have  been  fooad  more 
graceful  and  convenient. 


POLKA  ILLUSTRATED. 

FOE  glover's  quadeilles. 

FIB8T  QUADRILLS  FIGUKES. 


The  balance  en  carre. 

117 


118  POLEA  QUADBILLB8. 

8SC0ND  QUADRILLE  FIOVBZ8 


Turning  vis-a-vU  with  right  and  left  hands. 


POLKA  QUADRILLES.  119 

THIBS  QTTADRILLK  7IOT7BS8. 


Waltzing  round. 


Moulinetf  or  hands  across 


120  POLEA  QUADBILLES. 

rOURTH  QUADRILLE  FIOURK8. 


Thf  passes— changing  four  times,  ezccnUng  hed  and 
toe  at  each  pass. 


POLKA  QUADRILLES. 
FIFTH  QUADRILLK  FIOITRXl. 


121 


Balance  en  Carre. 


122  PQIEA  QT7ADSILLE8. 


Grand  pronunade  all  eight. 


Waltz  all  eight 


POLKA  QUADRILLES.  123 


MONTEREY  POLKA  QUADRILLES. 

Figures  arranged  to  Jive  popular  Polka  airs^  from 
celebrated  Composers 

BY  C.  DUEANG. 

First  :— GEN  TAYLOR. 

Polka  Dance  J  by  J.  Offenback^  8  bars  introduction 

Top  and  bottom  couples  advance  (4  bars,) 
with  Polka  waltz  and  retire  to  places ;  (4  bars ; ) 
demi  chaine  anglaise^  or  half  right  and  left, 
forming  hands  four,  the  ladies  facing  outward, 
the  gentlemen  inward ;  allemand  balance  to 
partners,  then  to  your  opposite  partner,  (8  bars) 
waltz  with  your  partners  to  each  other's  places, 
ending  with  forming  four  in  line ;  (8  bars;) 
the  top  couple  join  their  left  hands,  the  bottom 
couples  their  right  hands,  and  the  top  gent, 
and  bottom  lady  their  right  and  left  hands  in 
centre — thus  the  line  is  formed,  the  centre 
dancers  facing  one  way,  and  the  outside  gent, 
and  lady  the  other.  In  this  position  the  part- 
ners balance  en  carr6  around  each  other,  and 
when  in  places  again  renew  the  line  as  before, 
(8  bars,)  all  eight  allemand  at  corners,  (the 
trio  part  8  bars,^)  and  then  with  partners,  (8 
bars,)  top  and  bottom  couples  waltz  to  their 
places,  (8  bars.)  The  sides  repeat  the  same. 


124 


POLKA  QUADRILLES. 


Second:— GEN.  WORTH. 
RusHon  Polka,  by  J.  Labitzky,  8  bars  introduction. 
Top  aud  bottom  ladies  execute  the  ladies' 
chain  half,  then  the  top  and  bottom  gentlemen 
execute  the  same,  until  in  each  other's  places, 
the  two  ladies  finishing  opposite  to  their  part- 
ners, or  the  partners  vis-a-vis,  (16  bars  ;)  the 
ladies  heel  and  toe  and  chasse  to  the  right 
and  back  to  places;  the  gents,  do  the  same; 
(8  bars  ;)  they  then  hei/,  or  straight  right  and 
left  to  their  places,  (8  bars.)  The  sides  repeat 
the  same. 


The  Hey  figure. 


POLKA  QUADRILLES.  125 

Third  :— GEN.  TWIGGS. 
Theodore  Polka,  by  G.  Blessner 

Top  and  bottom  couples  Polka  waltz  up  to 
each  other,  (4  bars,)  give  right  hands  to  their 
vis-a-vis,  swin^  half  round,  and  then  give  left 
hands  and  re-cross,  the  gents,  taking  their 
partners  as  they  return  by  the  right  hand, 
with  their  left  hand,  and  the  ladies  in  the  side 
couples  with  their  right  hands,  and  forming 
hands  three  in  their  own  places;  the  gents, 
with  the  ladies  in  this  position,  viz; — iands 
three ;  execute  an  allemand  figure,  by  passing 
under  the  joined  hands  of  the  ladies,  until  all 
their  faces  are  reversed  outward,  and  then  rer 
turn  back  by  passing  backward  in  the  same 
way  ;  the  gents,  then  make  a  Pas  d'  allemand, 
by  turning  the  ladies  under  their  right  and 
left  arms,  and  holding  one  lady  by  her  right 
hand,  and  his  partner  by  her  left  hand,  the 
gent,  in  centre ;  the  six  then  execute  a  chasse 
to  the  right  and  back  again,  returning  the 
side  ladies  to  their  places.  The  four  ladies 
then  advance  to  centre  and  retire ;  the  four 
gents,  then  advance  and  retire  ;  all  eight  waltz 
half  round,  until  in  opposite  places ;  then  all 
face  right,  the  gents,  behind  their  respective 
partners ;  ladies  waltz  round  to  their  places 
followed  by  thp  gents.,  which  is  called  the 
grand  and  petit  chase.  The  sides  repeat  the 
same. 


126  POLKA  QUADBILLBS. 

FouKTH :— CAPT.  BRAGG. 

La  Carlotta  Grist  Polka,  by  Julien. 

Top  couple  promenade  or  waltz  up  to  right 
side  couple,  hands  four  and  set,  (8  bars,)  &*3t 
gent,  then  waltzes  with  the  third  lady  to  the 
bottom  couple,  leaving  his  own  lady  in  the 
place  of  the  third  lady ;  he  then  hands  four 
with  bottom  couple  as  before,  taking  the 
second  lady,  and  waltzes  with  her  to  the  fourth 
couple,  leaving  third  lady  in  her  place ;  he 
executes  the  same  figure  with  the  fourth  cou- 
ple, setting  in  hands  four,  and  then  waltzes 
to  his  own  place  with  the  fourth  lady ;  each 
lady  will  have  been  left  in  succession  in  each 
other's  place;  (trio  part  16  bars ;)  the  whole 


Polka  Bremen  Sup, 


POLKA  QUADRILLES.  127 

eight  with  partners  exchanged,  execute  a  pro- 
menade round,  using  the  Polka  Bremen  step. 
The  third,  second,  and  fourth  gentleman  exe- 
cute the  same  figure,  going  off  always  to  the 
right  first,  until  the  four  ladies  have  regained 
their  own  places.  fi^^The  grand  promenade 
always  ends  each  figure,  or  after  the  dancing 
gent,  has  made  his  three  changes  and  in  his 
own  place.  The  trio  part  is  always  played  for 
the  promenade. 

Fifth.— FiifALlE.— COL.  MAY. 
The  celebrated  Fashion  Polka  Quad.-^  bars  prelude. 
First.  Le  grand  Quarri. — Top  and  bottom 
couples  promenade  up  to  each  other  at  centre, 
(4  bars,)  simultaneously  the  side  couples  sepa- 
rate from  each  other  to  the  right  and  left  (each 
moving  out  to  their  respective  corners) ;  the 
leading  couples  draw  out  to  the  vacated  sides, 
while  the  sides  occupy  their  places ;  the  sides 
then  move  to  the  centre,  on  meeting  their  part- 
ners, take  hands  and  draw  to  their  places ;  the 
top  and  bottom  couples  having  regained  their 
places  by  a  movement  precisely  the  same  as 
the  first  one  of  the  side  couples  (16  bars.) 

Second. — Four  couples  heel  and  toe,  and 
chasse  across  four  times,  the  gent,  holding  the 
lady's  right  hand  with  his  right  hand  (8  bars). 

This  last  figure  will  bring  the  dancers  to  the  end  of 
the  second  part,  each  part  in  dancing  bein"^  repeated 
twice.  The  third  part  of  the  air  begins  with  Le  M.ou' 
linet. 


328 


POLKA  QUADRILLES. 


Le  grand  quarre  or  square  figure.   (See  Glossary  ) 


Heel  and  toe  and  chassi  across. 


POLKA  QUAPRILLES.  129 

TniRT). — The  four  ladies  hands  across  -with 
Hglit  hands,  the  gents,  take  their  partner's 
disengaged  hand  with  their  left  hands,  thus 
forming  a  cross ;  tfjie  ladies  balance  to  each 
other,  and  then  to  their  partners,  four  times, 
(4  bars,)  chasse  to  the  next  gentlemen,  (who 
remain  stationary  in  places,)  and  balance  to 
him,  and  so  round  to  each  gentleman,  until 
they  arrive  at  places,  or  regain  the  hands  of 
their  partners ;  the  cross  being  kept  perfect 
while  g'Mng  round. 

This  fif^ure  ends  the  third  part  of  the  air, 
played  twice* 


Grand  cross. 

FoTTBTH. — The  ladies  disengaging  hands  in 
centre,  still  retaining  the  left  hands  of  their 
partners,  takes  the  next  gentleman's  right 
hand,  thus  forming  a  ring,  the  gents,  facing 
inward  and  the  ladies  outward;  all  balance 
(en  chaine)  to  each  other,  (4  bars,)  turn  part- 
ners to  places,  (4  bars,^  in  waltz  position,  heol 
9 


130  POLKA  QUADKI1LI8. 


Balanc'e  en  rond  en  chatne, 
and  toe  and  chasse  round  in  your  plac€  (8 
bars).  This  ends  the  fourth  part  of  the  air. 
All  eight  right  and  left  round,  doing  heel  and 
toe,  at  each  time  of  taking  hands  in  going 
round  with  right  and  left  foot  alternately  un- 
til in  places  (16  bars).  This  ends  the  fifth 
part  of  the  air. 

Fifth. — All  eight  waltz  round  (8  bars),  the 
firyt  part  of  the  air  being  played  for  it.  The 
sides  begin  the  figure  again. 

Note. — The  foregoing  Polka  airs  being  yery 
popular  with  our  citizens,  the  idea  of  adapting 
figures  to  them  suggested  itself;  they  were 
accordingly  introduced  into  the  ball  room ; 
the  flattering  reception  with  which  they  were 
received,  gained  an  additional  zest  from  the 
patriotic  motive  of  imparting  to  them  a  name 
commemorative  of  one  of  our  most  brilliant  tri- 
umphs in  arms. 


rOLKA   QUADRILLES.  131 

BUEXA  VLSTA  POLKA  QUADRILLES. 

MUSIC  COMPOSED  BY  I.  HAZZARD,  PHILA. 

Tke  foil  owing  luio  figtires  from  London^  have  been  ar- 
ranged for  them.  Glover'' s  Polka  Quoflrilles^  or  any 
of  the  Cotillion  figures  may  be  danced  to  them. 

NEW  FIGURES. 
8  bars  introduction  to  each  Quadrille. 

1.  Pantalon. — Swing  corner  partners  half 
round  with  right  hand,  (4  bars,)  back  to 
places  with  left  hands,  (4  bars,)  top  and  bot- 
tom couples  waltz  around  each  other  to  places ; 
then  lead  up  to  each  other,  (4  bars,)  return  to 
places;  (4  bars;)  the  side  couples  repeat  tho 
same ;  commence  with  swinging  corner  part- 
ners. 

2.  Ete. — Top  couple  waltz  around  inside 
of  Quadrille,  ending  at  third  couple  on  their 
right,  (8  bars,)  with  whom  they  execute  an 
.allemand  right  and  left;  (8  bars;)  the  same 
couple  perform  a  double  waltz  around  each 
other  to  places.  (8  bars.)  Each  couple  in  suc- 
cession do  the  same. 

3.  PouLB.^First  couple  waltz  around  the 
side  couple  on  their  right,  finishing  in  front  of 
til  em,  (8  bars,)  hands  across,  half  round  with 
right  hand,  (4  bars,)  back  again,  (4  bars,) 
double  waltz  by  same  couple  to  places,  (8  bars,) 
back  waltzing  by  all  four  couples  until  iu 
places.  (8  bars. )  The  other  couples  repeat  the  » 
same  in  rotation. 


132  POLKA   QUADEILLE8. 

4.  Trenis. — Top  couple  forward  ia  vaXtz 
position,  the  lady  and  gentleman  passing  each 
other  four  times  in  advancing  to  their  vis-a- 
vis; (8  bars;*)  form  four  hands;  they  then 
execute  a  round  by  the  gents.,  passing  their 
partners  from  right  to  left  four  times,  until  in 
places,  joining  bands  at  each  pass ;  (8  bars  ;f ) 
these  couples  waltz  around  each  other  until  in 
places.     The  others  do  the  same. 

5.  Finale. — Grand  promenade  rt'imd  all 
eight;  (8  bars,)  balance  en  carre  all  eight 
with  corner  partners;  (8  bars;)  the  double 
love  chase,  the  top  lady  and  bottom  lady  go 
off  right  respectively,  around  the  inside  of 
Quadrille,  followed  by  their  partners,  until  in 
places  (8  bars,)  then  waltz  around  each  other, 
(8  bars,)  waltz  all  eight,  (8  bars,)  balance  en 
carre  with  corner  partners,  all  eight ;  (8  bars ;) 
side  couples  perform  the  love  chase,  &c.  (8 
bars.)  The' love  chase  figure  is  repeated  by 
the  gentlemen  leading  off  followed  by  their 
partners,  all  the  figures  following  in  the  same 
order. 


*  This  figure  is  nearly  the  same  as  in  Glover^s. 

f  The  step  used  in  this  figure,  is  the  heel  and  too 
and  chasse.  Gentlemen  always  commencing  with  the 
right  foot>  the  lady  with  the  left. 


POLKA  QUADRILLES.  133 

NEW  YORK  POLKA. 

AS  DANCED. AT  PARKER's  BALLS. 

DANCED  IN  COUPLES  OF  TWO. 

1.  Promenade  round  with  waltz  step,  hand  in 
hand. 

2.  Waltz  round,  lady's  hand  on  gentleman's 
shoulder. 

3.  Four  Polka  steps  forward,  waltz  round, 
back  step.  This  figure  is  executed  four 
times. 

4.  Plain  waltz  round. 

5.  Bremen  step,  heel  and  toe. 

6.  Waltz  round,  hands  on  waist. 

7.  Grand  chasse,  two  steps  forward,  two  steps 
back. 

8.  Polka  figure  with  hands  up,  elbows  down 
three  steps  and  coupee  back. 

9.  Turning  waltz,  heel  and  toe. 
10.  Gallopade  step,  quick. 

A  POLKA  FLNALE  QUADRILLE. 

To  the  popular  Evergreen  air,  or  any  other  Polka. 

Figure. — Top  couple  waltz  to  the  couple  on 
their  right,  gents,  take  each  other's  partners 
and  back  waltz  around  until  in  the  places  they 
left;  take  partners  and  waltz  around  each 
other,  the  top  couple  execute  the  same  with 
the  bottom  couple,  and  the  fourth  Couple :  all 
four  coliples  waltz  round;  the  other  couples 
perform  the  same  severally,  until  complete ;  the 
last  waltz  continued  for  an  unlimited  period. 


184  POLKA  QUADRILLES. 

GRAND  POLKAS. 
DUKANG'S  GRAND  BADEN  POLKA. 

FOR  TWO  OR  MORE  COUPLES. 
AS  TAUGHT  BT  C.  DXTRANO  AND  DAUOUTBB. 

Bars. 

1.  Grand  promenade  round,  16 

2.  Polka  chase  step  round,  gent,  follow- 
ing lady,  16 

3.  Polka  waltz  round,  ending  with  heel 
and  toe,  8 

4.  Allemandpassesandposes,heelandtoe,     8 
6  Pas  d'allemand,  gent,  turning  ladj  back 

and  forward,  16 

6.  Oblique  elbow  allemand  figure,  finishing 

with  heel  and  toe,  8 

7.  Polka  sissone,  lady  receding — gent, 
following  with  the  Mazurka  step,  and 
vice  versa,  16 

8.  Coquette  chase  around,  lady  deceiving 
four  times,  16 

9.  Allemand  passes  (tour  sur  place,)  heel 
and  toe, .  16 

10.  Coquette  chase  resumed,  gent,  leading,  16 

11.  Polka  waltz  round,  16 

12.  Waltz  (a  la  Polka)  (4  bars,)  grand 
chasse  four  times  going  round,  the 
waltz  and  chasse  intervening,  32 

13.  Waltz  or  promenade,  (4  bars,)  allemand 
passes,  forming  Poses  with  lady  right 
hand  and  left  hand,  ending  each  ara- 
besque or  attitude  with  heel  and  toe,  16 


POLKA  QUADBILLES. 


185 


*4.  En  carre  Polka  step,  or  square  balance,  16 
16.  Bremen  step  round,  16 

16.  Grand  waltz, — fini. 

The  Polka  is  ended  sometimes  with  a 
change  to  the  New  York  Polka  air,  played 
very  quick,  the  dancers  performing  in  Valse 
position,  a  Polka  reel  step.  This  is  discre- 
tionary with  the  dancers. 

A  Oallopade  may  be  substituted. 


Allemand  attitude  in  the  Baden  Polka. 
Note. — This  Polka  has  been  modified  and 
embellished  with  the  Allemand  passes  and 
groupings,  to  relieve  the  monotony  otherwise 
pertaining  to  its  plain  waltz  character ;  and, 
which  may  be  deemed  suitable  for  the  modern 
Ball  Room,  into  which  has  recently  been  intro- 
duced the  light  Ballet  movement  of  the  Opera. 


136  POLKA  QUADRILLES. 

MISCELLANEOUS  POLKAS. 

THE  RAVEL  POLKA  QUADRILLE. 
Composed  by  M.  Keller. 
Which  is  (lanced  as  a  Quadrille,  at  C.  Du- 
rang's  Soirees,  at  the  Museum  Ball  Saloon, 
Philadelphia. 

EVERGREExN  POLKA. 

DANCED   IN    COUPLES  OF  TWO,  LIKE  THE  WALTZ. 
MU8IC   BY   COKKER. 

A  very  popular  danuy  to  which  there  is  no  particular 

It  may  be  performed  in  couples,  like  the 
New  York  Polka,  or  the  waltz.  A  figure  has 
been  formed  to  it. 

The  dancers  arrange  themselves  as  in  the 
Spanish  dance.  The  couples  opposite  each 
Other  waltz  around  to  places,  then  execute  a 
back  waltz  with  opposite  partner,  then  with 
their  own  partner,  (8  bars  each,)  then  pous- 
sette  two  couples,  which  leads  to  next  couple, 
as  in  Spanish  dance.  Thus  continue  until 
every  couple  have  met  and  executed  the  same. 

JINNY  CRACK  CORN  POLKA. 
A  VERY  POPULAR  AIR. 

To  which  the  new  figure  of  the  Jealousy 
may  be  danced. 


POLKA  QUADRILLES.  187 


MONSIEUR  HAZARD'S  POLKA. 

FOR  TWO  OR  MORE  C0UPLE8. 


INTRODUCTION. 

1.  Grand  Promenade  8 

2.  "      Waltz, 
8.  Polka  Gallop, 

4.  "       Waltz, 

5.  Inconstante,  (the  lady  changing  four 

times,)  16 

6.  Petite  chase,  (twice,)  16 

7.  Grand  chase,  (twice,)  *                    16 

8.  Valse  croisee,  8 

9.  Figure  composee,  24 

10.  Carre,  16 

11.  Love  chase,  in  which  the  gentleman 

tries  to  look  at  his  lady,  then  turns 

round  her,  (twice,)  16 

12.  Chain,  three  and  half  times  round,  16 

13.  Coquette,  (twice,)  IG 

14.  Valse  croisee,  (heel  and  toe,)  8 

15.  Polka  Waltz,  (change  sides,)  8 

16.  Double  Waltz,  ad  libitum. 


Co 

8 

8 

IG 

16 

16 

16 
16 
16 
8 
24 
16 


IG 
16 
16 
16 
IG 


THE  ORIGIN  OP  THE  MAZURKA  QUADRILLES. 

The  Mazurka  is  the  national  dance  of  the  Poles, 
and  was  brought  by  the  Russians  into  Russia,  on 
the  subjection  of  that  ill-fated  country. 

It  was  first  introduced  in  England  by  the  Duke 
of  Devonshire.  It  has  become  very  popular  in  the 
polished  circles  of  Paris  and  London,  since  judi- 
cious modifications,  with  great  good  taste,  have 
engrafted  the  light  and  graceful  movement  of  the 
French  ballet  on  its  coarser  features,  without  im- 
pairing any  of  its  national  characteristics.  The 
Russians  rather  walk  than  dance  it,  with  a  mili- 
tary and  dignified  air,  but  lack  the  graceful  ani- 
mation of  the  Poles.  There  are  but  three  steps 
strictly  pertaining  to  its  entire  execution.  The 
first,  a  terre-a-terre  or  a  groutid  step  ;  one  of  a 
sissone  kind,  which  constitutes  the  chief  Mazurka 
step,  consisting  of  three  hops  on  each  foot  alter- 
nately. The  original  Hohcbiec,  or,  as  it  is  called 
in  Poland,  ^^  Holupoa^^^  a  name  taken  from  the 
metal  heels  commonly  worn  in  that  country ;  and 
which  they  strike,  whilst  dancing,  to  mark  the 
time ;  this  has  recently  been  modified  in  England 
into  a  light  elevated  movement,  executed  by  the 
lady  and  gentleman  in  a  waltzing  position.  As 
thus  performed,  novelty,  grace,  and  fascination  of 
action  in  grouping,  are  pleasingly  developed,  and 
more  in  consonancy  with  our  ideas  of  the  '•'■Divine 
danc£^'*^  than  the  peculiar  masculine  movement  of 
the  Russian  Holnhiec,  which  requires  brass  heels 
to  execute  wich  effect,  and  is  out  of  its  appropriate 
sphere  in  the  polite  ball  room.  The  time  is  ^  and 
5.  bur,  slower  th;m  the  Waltz,  and,  for  these  rea- 
fco«.o,  ihti  icxnodelled  Mazurka  is  here  given. 

188 


FIGURES  OF  THE 

MAZURKA   QUADRILLES, 

AS  DANCED  AT  ALMACK'S,  LONDON,  AND  TAUGHT 
BY  MR.  DUBANG  AND  DAUGHTEB. 

FIGURE  1. 

Situations  as  Quadrilles  or  Cotillions. 

lat.  Eight  bars  of  music  are  played,  then  com- 
mence the  Kola  or  grand  rpund;  four  bars  left, 
and  four  bars  right,  to  places. 

2d.  All  le  tour  sur  place.     {Eight  bars.) 

3d.  All  holubiec.     (Eight  bartt.) 

4ch.  The  leading  couple  (who  commence  all  the 
figures)  promenade  around  the  inside  of  Quadrille 
with  Mazurka  step.     {Eight  bars.) 

5th.  Le  tour  sur  place,  with  same  step.  (Eight 
bars.)    Solus. 

6th.  Holubiec.     (Eight  bars.)     Solus. 

Counterpart  for  all  the  other  couples. 


FIGURE  II. 

1st.  Grand  Round  as  before. 
2d.  All  eight  le  tour  sur  place.     {Eight  bars.) 
3d.  All  eight  holubiec.     {Eight  bars.)  ' 
4th.  Leading  couple  lead  up  with  the  Mazurka 
TTOUieimde,  to  the  right  side  couple,  {four  bars)  ; 
hands  four  half  round  and  back.     {Eight  har.f.) 
5th.  Ditto  to  ihe  other  leading  couple,  and  mou- 
linet  half  round  and  back.     {Etgtit  bars.) 

6th.  Las  ly,  they  prom'.'nade  to  the  fourth  cou- 
ple, wiih  whom  they  execufe  the  Chaine  Anglaise 

ISO 


140  MAZrnKA  QT-\D-rT.LTr8. 

douhfe,  after  whicb  they  promenade  to  their  places, 
cxeaunng  the  tour  sur  p  ace,  ami  holubiec,  solus. 
This  figure  is  successively  repeated  by  the  second, 
third,  and  fourth  couples. 


PIGURB  III. 

The  Graces. 

1st.  Grand  round  as  before. 

2d.  All  eight  execute  tour  sur  place.  {Eight 
bars.)     Ditto,  the  holubiec.     {Eight  bars.) 

3d.  Leading  couple  promenaae  to  the  couple  on 
their  right  {four  bars)  ;  during  which  the  cavalier 
passes  his  lady  to  the  left,  without  quitting  her 
hand,  and  takes  the  hand  of  the  second  lady  on 
the  right,  and  passes  her  behind  him  to  his  part- 
ner— the  two  ladies  join  hands  behind  the  gentle- 
men, they  then  perform  a  round  {fo7ir  bars)  to 
the  left;  the  gentleman  then  stoops,  and  paj>ses 
backward  under  the  ladies'  joined  hands,  making 
a  pass  d'allemand,  without  breaking  hands,  until 
the  three  dancers  are  faced  inwards — thus  forming 
the  attitude  of  the  Graces — in  this  position  they 
perform  a  round,  first  to  the  left  {four bars),  and 
ihen  to  the  right  {four  bars) ;  at  the  end  of 
which  the  cavalier  conducts  the  second  lady  to  her 
place,  and  his  partner  to  her  place,  with  the  Ma- 
zurka promenade. 

4th.   Tour  sur  place.     {Eight  bars.)     Solus. 

5th.  Hohibiec.     {Eight  bars.)     Solus. 

The  other  couples  execute  the  same  figure  suc- 
cessively.* 

*  The  fi<rures  of  the  Graces  is  only  executed  once  by 
each  couple;  the  entire  set  being  long,  and  fntiguing 
in  their  performance,  but  may  be  curtailed  at  pleasure. 


MAZURKA  QUADRILLES.  141 


Le  Boulanger. 

Ist.  Grand  round  as  before. 

2d.  All  eight  tour  sur  place.     (Eight  bars.) 

3d.  All  eight  holubiec.     {Eight  bars.) 

4th.  The  leading  couple  commence  by  swinging 
with  their  left  hand  to  the  centre  of  Quadrille; 
the  gentlemen  then  executes  a  chain,  {as  in  the 
Erench  figure  le  houlanger^)  by  swinging  the  lady 
on  his  right  with  the  right  hand,  and  then  his 
partner  with  the  left  hand,  and  so  the  third 
and  fourth  ladies,  and  his  own  lady,  successively, 
keeping  up  as  near  as  possible  the  figure  of  a  chain. 

5tn.  Tour  sur  place.     {Eight  bars.)     Solus. 

6th.  Holubiec.     {Eight  bars.)     Solus. 

The  second,  third,  and  fourth  couples  ezeoute 
the  same  figures  alternately. 


FIGURE  V. 

Finale. 
1st.  Grand  chain.     {Eight  bars.) 
2d.  All  eight  tour  sur  place.     (Eight  bars.) 
3d.  All  eight  holubiec.     {Eight  bars.) 

FINI. 

N.  B. — There  are  but  three  steps  used  m  this 
dance — each  step  adapted  to  the  figures.  They 
being  so  peculiar  in  character,  that  any  anlaysis  of 
them  here  is  impossible,  tuition  and  practice  alone 
will  enable  the  pupil  to  execute  them  with  graoe 
and  ease. 


142  JIAZURKA  QtADElLLES. 

KOLO.  POLISH  MAZURKA  SET. 

The  first  couple  advance  to  the  centre ;  the 
lady  passes  round  the  gentleman,  set;  leaving 
his  partner  in  the  second  lady's  place,  the 
same  gentleman  repeats  the  figure  with  the 
other  three  ladies.  The  other  gentlemen  do 
the  same. 

EIGHT  AND  LEFT  POLISH  SET. 

The  first  gentleman  leads  his  partner,  with 
the  lady  on  his  left,  round  inside  the  figure, 
and  turns  both  ladies ;  the  three  set,  turning 
to  their  places ;  the  other  gentlemen  do  the 
same. 

THIfiD  FIGUBE. 

The  first  gentleman  leads  his  partner  round 
inside  the  figure,  and  kneels ;  he  rises  at  the 
eighth  bar,  set,  turning  to  their  places ;  the 
other  gentlemen  do  the  eame.  Finish  tciih 
Kolo. 

MAZURKA  QUADRILLES. 
BY  JULIEN. 
As  danced  at  Mr.  Whale's  Balls.  {See  his  Programme.) 
Les  Russes. — A  set  of  Mazurkas,  as  danced 
and  arranged  to  the  Cellarius  Valse,  which 
are  too  descriptive  in  length  for  our  limited 
little  work,  to  insert ;  but  may  be  found  in 
extenso  attached  to  the  music,  with  others,  at 
the  various  music  marts.  The  Mazurka  we 
publish  is  admirably  adapted  in  performance  to 
the  musical  arrangement  of  Monsieur  Hazard. 


LA   GALLOPAEB.  143 

LA  GALLOPADE. 

This  extremely  graceful  dance  is  performed 
in  a  continued  chasse.  It  is  danced  in  cou- 
ples, as  waltzing — an  unlimited  number  may 
join  in  it. 

FIGURE  OF  A  GALLOPADE  QUADEILLE 

1.  Gallopade. 

2.  Eight  and  left ;  sides  the  same. 

3.  Set  and  turn  hands  all  eight. 

4.  Gallopade. 

6.  Lacliert'  chain  ;  sides  the  same. 

6.  Set  and  turn  partners  all  eight. 

7.  Gallopade. 

8.  Tirois ;  sides  the  same. 

9.  Set  and  turn  partners  all  eight. 

10.  Gallopade. 

11.  Top  lady  and  bottom  gentleman  advance 

and  retire ;  the  other  six  do  the  same. 

12.  Set  and  turn  partners  all  eight. 

13.  Gallopade. 

14.  Four  ladies  advance  and  retire ;  gentlemen 

the  same. 

15.  Double  ladies'  chain. 

16.  Set  and  turn  partners  all  eight. 

17.  Gallopade. 

18.  Pousette ;  sides  the  same. 

19.  Set  and  turn. 

20.  Gallopade  waltz. 


144  THE    POLONAISE. 

THE  POLONAISE. 

This  graceful  dauce  is  of  a  conversational 
character,  perfectly  ad  libitum^  as  to  move- 
ment, wherein  gayety  and  jeu  d'esprit  may 
float  unrestrained,  bounded  only  by  decorum 
It  can  hardly  be  called  a  dance,  since  the  only 
variation  is  a  change  of  hands. 

A  gentleman  placed  at  the  head  of  the  line, 
claps  his  hands  and  becomes  the  partner  of  the 
first  lady,  displacing  the  whole  line ;  one  gen- 
tleman is  thus  excluded,  who  either  retires  or 
returns  to  lead  off  at  top.  This  dance  is  a 
great  favorite  with  the  fashionables  of  Northern 
Europe;  and  the  most  celebrated  musical 
composers  have  devoted  themselves  to  impart 
new  charms  to  the  Polonaise.  ^'. 


THE  WALTZ.  145 


THE  WALTZ. 

This  dancGi  which,  as  we  have  already  said, 
came  to  us  from  Switzerhmd,  has  been  modi- 
fied and  embellished  by  passes  and  groupings, 
in  order  to  introduce  variety  to  its  monotony. 
The  waltzes  we  term  La  Rmse  and  La  Sau- 
teuse,  are  derived  from  it  It  is  composed  of 
two  steps,  each  of  three  beats  to  a  bar,  which 
also  contains  three  terns,  according  to  musical 
principles. 

Each  of  these  two  steps  performs  the  demi- 
tour,  or  half  turn  of  the  waltz,  which  lasts 
during  the  bar ;  the  two  steps  united,  form, 
therefore,  the  whole  waltz,  executed  in  two 
bars.  These  steps  differ  one  from  the  other, 
yet  so  as  to  fit  one  into  the  other,  if  it  may  be 
so  expressed,  during  their  performance,  and  in 
such  a  manner  as  to  prevent  the  feet  of  one 
from  touching  and  endangering  those  of  the 
other;  thus  while  the  gentleman  performs  one 
step,  the  lady  dances  the  other,  so  that  both 
are  executed  with  uninterrupted  exactness,  as 
will  be  clearly  demonstrated. 

In  order  to  perform  one  of  these  waltz  steps, 
place  your  feet  in  the  third  position,  the  right 
foot  forward ;  then  advancing  the  right  foot  in 
the  natural  way,  not  turning  it  out,  to  place  it 
in  the  fourth  position,  (first  time,)  then  imme- 
diately bring  forward  the  left  foot,  turning  the 
toe  inward,  and  placing  it  crossways  before 
10 


146  THE    WALTZ. 

the  other  foot  to  form  the  fourth  position,  that 
foot  being  raised  immediately,  and  the  body 
is,  at  the  same  time,  turned  lialf  round;  in 
placinp^  the  foot  for  the  fourth  position,  (second 
time,)  that  foot  which  you  have  raised,  while 
placing  the  last  mentioned,  must  then  be 
placed  before  the  other  in  the  third  position, 
jind  outwardly,  resuming  its  ordinary  posture, 
and  to  perform  the  third  bar.  The  step  being 
tlius  executed  while  turning  half  round,  will 
bring  the  face  where  the  back  was. 

In  order  to  execute  the  second  step,  and  to 
perform  at  the  same  time  the  other  half  turn, 
dcmi-iouTy  which  completes  the  waltz,  turn 
out  the  side  of  your  left  foot,  the  toe  being  in- 
ward, and  moving  the  body  round  at  the  same 
time,  place  it  in  the  second  position,  (first  beat, ) 
put  the  right  foot  behind  the  left,  always  con- 
tinuing to  turn  the  body,  (second  beat,)  then 
bring  the  left  foot  before  you,  turning  the  toe 
inwards,  the  body  turning  also,  to  come  half 
round,  at  the  moment  you  are  placing  the  left 
foot  in  the  second  position,  to  execute  the  third 
beat  of  the  second  step,  and  the  second  half- 
turn,  which  completes  the  waltz. 

By  this  example,  it  may  be  seen  that  a  waltz 
is  composed  of  two  steps,  each  of  which  con- 
tains tliree  terns,  or  beats,  making  six  for  both, 
and  for  the  entire  figure  of  the  waltz,  which  is 
performed  during  two  bars ;  also,  that  when 
either  of  the  two  persona  waltzing  advances 


THE    WALTZ.  147 

the  right  foot  to  begin  the  first  step  described 
above,  the  opposite  person  draws  back  the  left 
foot  at  the  samie  time  to  begin  the  other  step, 
allowing  his  partner  an  opportunity  of  advanc- 
ing her  foot,  both  performing  then  the  demi- 
tour ;  when  one  repeats  the  step  the  o-ther  has 
just  executed  in  the  second  demi-tour^  to  com- 
plete the  waltz.  When  the  position  for  the 
waltzing  is  taken,  in  order  that  the  step  may 
be  properly  commenced,  and  that  both  persona 
may  be  in  unison,  the  lady  being  on  the  right 
of  the  gentleman,  he  must  go  off  on  the  left 
foot,  turning  himself  before  his  partner,  as  if 
that  had  been  his  first  position ;  and  with  re- 
spect to  the  second  step  described  before,  it  is 
always  performed  by  that  person  who  has  his 
back  towards  the  side  on  which  the  waltz  be- 
gins, as  the  person  who  faces  that  side  always 
executes  the  first  step. 

To  waltz  properly,  all  the  beats  or  terns, 
should  be  clearly  marked ;  being  attentive  not 
to  turn  upon  les  poinies,  or  toes,  in  the  same 
beats,  such  a  system  not  being  convenient  for 
the  turning  of  two  persons  at  once;  every 
turn  in  a  waltz  should  be  clearly  and  fully 
performed,  so  that  on  finishing,  the  waltzers 
should  come  always  opposite  to  the  same  side 
as  they  were  on  setting  out ;  without  which, 
the  course  of  the  waltzers  cannot  be  followed, 
and  the  waltzer  wou!d,  in  consequence,  fall 
upon   those  who  are  coming  behind  him,  or 


148  THE  WALTZ. 

who  are  in  the  middle  of  the  room,  which  is 
very  frequently  the  case. 

Care  should  be  taken  not  to  make  use  of 
those  vicious  attitudes,  the  second  of  which  is 
even  more  indecent  than  the  first,  and  which, 
indeed,  have  their  origin  in  loose  society. 

The  gentleman  should  hold  the  lady  by  the 
right  hand,  and  above  the  waist,  or  by  both 
hands,  if  waltzing  be  diflScult  to  her ;  or  other- 
wise, it  would  be  better  for  the  gentleman  to 
support  the  right  hand  of  the  lady  by  his  left. 
The  arms  should  be  kept  in  a  rounded  posi- 
tion, which  is  the  most  graceful,  preserving 
them  without  motion;  and  in  this  position 
one  person  should  keep  as  far  from  the  other 
as  the  arms  will  permit,  so  that  neither  may 
be  incommoded. 


\ 


WALTZ  QUADRILLES.  149 

WALTZ  QUADRILLES. 

FIRST  SET. 

First. — Top  and  bottom  couples  waltz 
around  each  other  to  places  ;  the  same  couples 
waltz  to  partners,  and  swing  half  round  with 
right  hands  ;  again  waltz  to  each  other,  and 
swing  round ;  with  left  hands  to  places ;  the 
four  waltz  round  in  places. 

Second. — Leading  couples  half  promenade 
around,  and  waltz  back  to  places ;  Jadies' 
chain  ;  all  waltz  quite  round. 

Third. — Leading  couples  waltz  across  into 
each  other's  places ;  the  side  couples  do  the 
same.  All  turn  their  partners  round  in  their 
respective  places  in  waltz  position ;  all  waltz 
to  places ;  the  sides  repeat  the  same. 

SECOND  SET. 

First. — All  eight  waltz  around  ;  half  right 
and  left  leading  couples ;  waltz  to  places ;  ad- 
vance four  and  retire,  waltzing. 

Second. — The  ladies  hands  across,  as  they 
meet  each  gentleman  in  going  round,  (who 
remain  in  places,)  they  disengage  their  right 
hands  and  waltz  round  with  him,  rejoining 
hands  each  time,  until  they  thus  reach  their 
own  partners,  with  whom  they  waltz  until  in 
places  ;  grand  chain,  waltzing  round,  without 
giving  hands. 

Third. — The  sides  do  the  same  ;  the  same 
figure  repeated  by  all  eight ;  all  eight  set  in  a 
circle  ;  all  poussette  quite  round  to  places  ; 
grand  promenade  or  waltz,  for  finale. 


150  WALTZES. 

LA  VAl.SE  HONGROISE. 

The  national  waltz  of  the  Hungarians  is 
one  of  the  most  pleasing  dances  in  Europe ; 
and,  in  the  country  from  which  it  takes  its 
title,  is  performed  on  festive  occasions  with 
equal  zest  by  the  magnate  and  the  peasant, 
its  distinguishing  movements  being  charac- 
terized by  simplicity  and  elegance,  which  have 
deser-^dly  placed  it  among  the  most  favored 
and  fashionable  dances  of  the  continent.  The 
Hungarian  Valse  has  been  always  received 
with  pleasure  when  presented  in  the  ballets ; 
and  Rossini  has,  with  his  usual  taste  and 
brilliancy,  assisted  its  successful  introduction 
in  his  popular  opera  of  Guillaume  Tell. 

THE  REYDOWAK. 

Is  the  native  dance  of  the  Bohemians.  The 
first  part  of  the  dance,  comprising  16  bars 
and  composed  in  three-quarter  time,  is  that  of 
the  promenade,  or  walking  movement;  the 
second,  containing  a  similar  number,  is  in 
two-quart«r,  and  called  the  Reydowtzka.  This 
is  the  waltz. 

From  the  Ri'ydoicak  originated  the  present 
beautiful  Redowa,  now  danced  with  so  much 
edat  in  the  ball  rooms  of  Europe  and  the  United 
States. 
I 


THE  NEW  KEDOWA. 

AS  TAUGHT  BY  C.  DUEANG  AND  DAUGUTEB. 


This  celebrated  Bohemian  Valse,  which  is  being 
danced  this  season  in  the  most  fashionable  Parisian 
Baloons,  and  at  Almaok's,  London,  has  just  been 
received  from  Paris,  and  is  now  published  for  the 
first  time. 

The  music,  steps  and  figures  of  this  n  w  and 
brilliant  ball  room  dance  are  quite  original— and 
from  the  eclat  which  has  attended  its  reception 
in  the  circles  of  taste  and  fashion  in  Europe,  in- 
duced the  publishers  to  present  the  music  to  the 
votaries  of  Terpsichore  here,  as  an  ofi'ering  for 
the  season.  A  description  of  the  peculiar  steps 
and  figures  in  print  or  diagram  is  deemed  impos- 
sible, as  it  must  be  seen  in  the  execution  to  be 
admired,  and  learned  only  by  tuition.  The  prin- 
cipal step  in  its  performance  is  neat,  beautiful, 
and  original  in  construction,  differing  materially 
from  the  old  waUz  movement,  which  consists  of 
two  steps,  each  of  three  beats  to  a  bar,  which  also 
contains  three  tems^  according  to  musical  princi- 
ples. The  Hedowa^  now  offered,  is  composed  of 
three  steps  and  three  figures  only.  But  the  ne:i*- 
ness  and  elegance  of  the  steps  and  figures  h:irmo- 
nize  with  the  simplicity  and  character  of  the 
music,  one  being  evidently  composed  as  analogous 
in  tone  to  the  other.  It  is  free  from  all  compli- 
cated movement — a  desirable  object  in  socie'y 
dancing ;  and,  no  doubt,  will  become  highly  popu- 
lar in  our  ball  rooms. 

151 


152  WALTZES. 

WK  HERE  SUBJOIN  A  BRIEF  SKETCH  OF. 

THE  REDOWA. 

Lady  and  gentleman  promenade  round 
hand  in  hand,  with  the  pas  basque  step ;  then 
the  waltz  step  in  waltz  position ;  as,  thus,  they 
execute  a  pas  basque  together,  beginning  each 
with  right  foot,  disengage  with  the  left  foot; 
jete  with  left  foot,  again  disengage  leaving 
their  right  feet  front,  either  in  the  third  o\ 
fourth  positions,  which  completes  the  entire 
step  with  which  they  continue  to  waltz  with- 
ad  libitum.  Third,  the  poursuite  the  gentle- 
man holding  the  lady's  two  hands  glissades 
back  with  right  and  left  foot  alternately,  mak- 
ing a  back  coupe  at  the  finish  of  each  glissade, 
the  lady  following  with  the  pas  basque.  (The 
arms  will  propel  always  with  the  motion  of 
the  body.)  Then  four  Polka  waltz  steps,  the 
poursuite  repeated,  the  lady  retiring ;  the  steps 
exchanged  by  the  partners.  The  waltz  re- 
sumed, &c. 

This  dance,  although  extremely  simple  in 
appearance,  requires  great  neatness  and  tact 
in  execution,  consequently  much  practice.  It 
may  not  be  animated  enough  for  the  ball 
room,  but  makes  a  very  beautiful  and  charm- 
ing dance  for  the  private  party,  as  it  is  exe- 
cuted in  couples — four,  six,  or  two  may  pei> 
form  it. 


\  WALTZES.  153 

CELLARIUS  WALTZ. 

DANCED  IN  COUPLES. 

First. — Mazurka  hop  step  round,  or  prome- 
nade. 

Second. — The  instep  step  (Bistem)  twice 
going  round. 

Third. — Mazurka  hop  step,  the  gentleman 
passing  behind  the  lady  from  right  to  left, 
making  three  beats  each  time  of  passing,  the 
music  directing  the  beats. 

Fourth. — Mazurka  hop  step  round. 

Fifth. — Hop  all  round  with  one  foot,  lady 
right  foot,  gentleman  with  leftfoot,  ending  with 
aronge,  or  arrondir.     Mazurka  step  all  round. 

The  fifth  figure  in  this  Valse  has  been 
changed  to  a  waltz  movement,  executed  with 
the  Bistem  step,  viz.,  instep  step  in  going  round. 
This  renders  it  more  agreeable  and  less  fa- 
tiguing— as  the  hopping  all  round  on  one  foot 
made  it  extremely  tiresome. 

Jl^*"  The  music  of  the  Cellarius  Waltz  is 
the  same  as  that  of  the  Mazurka  Quadrille. 
It  is  three-quarter  time,  rather  slow,  and  ac- 
centuated differently  to  the  waltz,  the  first  and 
third  beats  in  each  bar  are  most  dwelt  on,  and, 
it  is  this  which  makes  its  national  character. 
The   difficulty  in   a   soiree  of  meeting   eight 

Sersons  capaple  of  perfectly  dancing  the  fig- 
bos  of  the  Mazurka  Quadrille,  suggested  to 
M.  Cellarius  this  waltz,  composed  from  three 
steps  of  the  Mazurka,  which  can  be  danced  in 
couples  like  the  Polka. 


WALTZ    COTILLION. 


Places  the  same  as  a  quadrille ;  top  couple  walti 
around  inside.  First  and  second  ladies  waltz  up 
to  each  other  and  cross  over,  turning  twice  ;  tho 
gentlemen  of  the  top  couples  do  the  same — tho 
side  couples  do  the  same.  The  first  couples  waltz 
to  places  ;  the  side  couples  do  the  same ;  tho  gen- 
tlemen take  their  partners  by  the  right  hand  with 
their  right  hand ;  all  waltz  {^four  bars)  and  turn 
their  partners  under  their  arms;  all  the  gents,  go 
out  right  to  each  lady,  executing  this  figure  until 
in  places.  Form  two  lines  at  the  sides,  all  ad- 
vance twice  and  cross  over,  advance  again  and  re- 
cross,  and  to  places;  all  eight  waltz  round;  tho 
sides  execute  the  same;  the  whole  repeated  four 
limes. 


A    GALLOPADE    QUADRILLE, 

AS  A  FINALE. 

All  eight  promenade  a  la  gallopide;  first  lady 
advances  alone,  and  retires  {four  bars) ;  opposite 
gentlemen  idem  {four  bars)  ;  top  and  bottom 
couples  chassez  to  the  couples  on  their  right,  and 
sec  {four  bars) ;  the  four  gentlemen,  wirh  con- 
trary partners,  gallopade  open  to  the  top  and  bot- 
tom, and  turn  both  hands  half  round,  forming  two 
lines  {four  bars)  ;  all  eight  (in  the  two  lines) 
advance  and  retire  {four  bars)  ;  advance  again, 
and  retake  partners,  turning  into  places  (four 
bars.) 

154 


WALTZilS.  155 

RULES  TO  BE  OBSERVED  IX  WALTZING 
AND  GALLOPADING. 

As  waltzing  almost  approximates  to  a  pas- 
sion with  our  dancers,  and  is  universally  in- 
dulged in  by  all  frequenters  of  the  fashionable 
soiree,  we  need  not  comment  at  length  upon  the 
general  rules  to  be  observed,  or  the  avoidance 
of  seeming  indelicacies,  to  which  prejudice  and 
fastidious  decorum  may  be  furnished  with  a 
reasonable  objection.  The  propriety  of  this 
dance  has  often  been  mooted,  even  by  the  libe- 
ral minded.  Dancers  of  good  sense  and  correct 
taste  can  never  offend  delicacy  and  modesty, 
but  must  ever  delight  in  the  gracefulness  and 
neatness  of  their  step  and  mien. 

The  couplet  of  the  poet,  although  trite,  with 
a  slight  verbal  alteration,  may,  with  some  force, 
be  quoted  heie  for  the  waltzer's  guidance: 

"  Immodest  mien  (words)  admits  of  no  defence, 
For  want  of  decency  is  want  of  sense." 

But  we  deem  it  necessary,  as  an  incentive 
to  harmony,  convenience,  and  good  breeding, 
that  those  mingling  in  the  '*mazy  dance" 
should  observe  the  following  hints : — The 
above  are  danced  in  an  unlimited  number  of 
couples,  following  each  other  in  a  circle :  when 
the  couples  become  fatigued,  or,  from  any 
other  reason,  feel  desirous  to  withdraw,  they 
should  be  careful  to  retire  within  the  circle  of 
the  dancers,  thereby  avoiding  confusion  with 
those  couples  following. 


158  f    TAS  DE  MATELOT. 

PAS  DE  MATELOT. 

A  SAILOR  liOKXPIPE — OLD  STYLE. 

1.  Glissade  round,  [first part  of  tune.) 

2.  Double  shuffle  down,         do. 

3.  Heel  and  toe  back,  finish  with  back  shuffle. 

4.  Cut  the  buckle  down,  finish  the  shuffle. 

5.  Side  shuffle  right  and  left,  finishing  with 

beats. 

6.  Pigeon  wing  going  round. 

7.  Heel  and  toe  haul  in  back. 

8.  Steady  toes  down. 

9.  Changes  back,  finish  with  back  shuffle  and 

beats. 

10.  Wave  step  down. 

11.  Heel  and  toe  shuffle  obliquely  back. 

12.  Whirligig,  with  beats  down. 

13.  Sissone  and  entrechats  back. 

14.  Running  forward  on  the  heels.         [plase. 

15.  Double  Scotch  step,  with  a  heel  Brand  in 

16.  Single  Scotch  step  back. 

17.  Parried  toes  round,  or  feet  in  and  out. 

18.  The  Cooper  shuffle  right  and  left  back, 

19.  Grasshopper  step  down. 

20.  Terre-d-terre,  or  beating  on  toes  back. 

21.  Jockey  crotch  down. 

22.  Traverse  round,  with  hornpipe  glissade. 

Bow  and  finish. 
Jg^^  Each  step  takes  up  one  strain  of  the 
tune.     There  are  a  variety  of  other  shuffles, 
but  the  above  are  the  principal,  with  their 
original  names. 


FISHEE    &    BROTH. 

PJIILADELrillA,  NEW  YORK,  BOSTON  k  P\'  i 

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